Perhaps one of the most understated lessons of life as an artist or creative individual is this. A great watch.
Nick Bedford has just posted his latest photo blog, Photo Vol. 131 full of 35mm Tri-X street photography and more. Nick also briefly reviews Joel Meyerowitz’ Masterclass course.
I would recommend this course for advanced photographers who are well beyond the learning curve of exposure, composition and cameras and who are now venturing into the rich and infinitely subtle world of expressive and artistic photography, which is most often driven by deeply personal motivations.
Anywhere from 50-100 photographs per post, the goal of Nick’s long running photo blogs isn’t to show just the best work, but all of the work that strikes his interest and feels like sharing. From there, collections of images can be selected for later use in book projects way down the line.
To be connected with everything and everyone: this is the meaning of Ubuntu, a Congolese concept borrowed by photographer Rebecca Fertinel (b. 1991, Romania) to title her latest body of work, which recently won the Dummy Award at Unseen Amsterdam 2018. The series shows a Congolese family living in Belgium as they try to maintain their heritage and traditional values through community events, such as weddings, parties and funerals.
Process your own C-41 color film at home is easy with these 2 simple liquid chemistry mixtures. No special equipment needed!
Processing your own color film doesn't have to be complicated or expensive! This liquid chemical, two bath processing kit can be used at a variety of temperatures with the same equipment you already process your black and white film with at home. No darkroom or automated processor required!
Source (The Brothers Wright Vimeo)
By David Walker
“New York City, 1963,” by Joel Meyerowitz. From 1962 to 1965, Meyerowitz and Garry Winogrand “pounded the streets every day” with their cameras cocked and ready, looking for the “fragment of perception that stimulated our consciousness,” Meyerowitz recalls.
When we asked photographers to define “street photography,” they cited the work of several photographers as examples: Helen Levitt, Eugène Atget, Diane Arbus and William Klein, among others. But the photographer most frequently mentioned is Garry Winogrand (1928-1984). To photographers who knew Winogrand personally and those who know him only through his incongruous, witty work, he epitomizes the genre. Photographer...
Alongside a preview of his new book, ‘Joel Meyerowitz: Where I Find Myself’, the photographer gives us a masterclass in the medium
TEXT Douglas Greenwood
The street has always been a place where life unfolds unexpectedly. For the past 56 years, American photographer Joel Meyerowitz has tried his best to capture as much of it as he can.
Now considered one of the founding fathers of the medium, Meyerowitz found himself at the epicentre of a movement when he first picked up a camera in early 1960s New York City. Shooting in colour was considered crass back then – used only for commercial purposes – but as it was all that he had to hand, he was able to capture the chaos and jubilance of a generation in crisp, vibrant detail. It would be the start of a highly influential career that saw Meyerowitz create some of the most admired collections of 20th century photography, including Cape Light, his series shot over a summer in Cape Cod, Massachusetts; and his beautiful photos of shorelines at dusk in Bay/Sky.
Joel Meyerowitz: Where I Find Myself is the biggest published retrospective of his photography to date. Presented to the reader in reverse order, it chronicles Meyerowitz’s best work, from his sobering photos of a post-9/11 New York City in mourning to his romantic, mid-20th century shots of the carefree lives of those living in towns and cities across America.
“[It was] a bittersweet and yet fascinating experience to look at 50,000 photographs and say goodbye to most of them,” says Meyerowitz. All of that work brought him to where he is today. Having recently celebrated his 80th birthday, he still continues to take still-life photographs of objects he finds in the junkyards of his Tuscan town.
Now, Meyerowitz says times have changed for street photographers – particularly those looking to capture an organic, fleeting moment. “[Back then], you could feel the sensual mix on the street,” he says. “Today, it’s very different. Most people have a cell phone to their ear, or are communicating – they think – with others. They’re somewhat distanced from the real world, so it’s not as sensual, erotic or playful as it used to be.”
That doesn’t mean modern photographers can’t adopt the style to make beautiful pictures, though. Here, Joel Meyerowitz shares five tips on how to take masterful, honest photographs of life on the street.
Local WECC member Nick Bedford has published another huge post of B&W Kodak TRI-X street and personal doco photos. He's been shooting with the Nikon FA but just got his Leica M7 back.Read More
In this video, I go over my film scanning workflow using VueScan software and an Epson V500 and then compare the results with Epson Scan. I've only been using VueScan for a short period of time, but I've been incredibly happy with the results, and feel like I finally have a workflow for scanning at home that produces the results that I'm after.
Source ( Youtube)
WECC member and film photography enthusiast Nick Bedford has finally decided to jump into large format with an Intrepid 5x4 Mark III view camera.Read More
Today would mark Gerda Taro's 108th Birthday. Gerda Taro was a German war photographer, and the companion and professional partner of photographer Robert Capa. Taro is regarded as the first female photojournalist to cover the front lines of a war and to die while doing so. Wikipedia
Gerda Taro was a pioneering and largely unknown female photojournalist whose work consisted almost exclusively of dramatic photographs from the Spanish Civil War. Irme Schaber, Taro's biographer and curator of the current exhibition at the Barbican will present and talk about a wide selection of Taro's work. Gerda Taro (1910-37) worked alongside Robert Capa, who was her photographic as well as romantic partner and the two collaborated closely. Her photographs were widely reproduced in the French press and incorporated the dynamic camera angles of New Vision photography as well as a physical and emotional closeness to her subject. While covering the crucial battle of Brunete in July 1937, Taro was struck by a tank and killed. Irme Schaber is a writer and lecturer on the history of exile photography, photojournalism and print-media. She is currently researching the work and lives of Hansel Mieth and Otto Hagel, two important German refugee photographers who were some of the earliest photographers for Life magazine.
Source (Frontline Club Youtube)
As we enter into our sixth year of the annual Student Prize competition, we at Lenscratch find ourselves truly amazed at the quality of work that passes through the submission inbox year after year after year. Aline Smithson and myself were joined by previous Student Prize winner Shawn Bush as we sat down with nearly 200 submissions from all over the world. It is with great pleasure to announce the first-place winner Zora J Murff, recognizing his body of work Re-Making The Mark, and also celebrating his excellence as an MFA graduate from University of Nebraska–Lincoln.
In his body of work Re-Making The Mark, Zora navigates iconography that is structured upon historical and cultural racial profiles. It is hard for me to articulate themes of race and violence when looking at the breadth of Zora’s work because my privileges have allowed me to slip by in life without addressing either. This is why the work that Zora does is truly important. It facilitates conversations that are hard to have, and it provides representation when there is lack thereof. Re-Making The Mark highlights the beauty and normality that should be seen within people of color and their communities, though emphasizes the realities of how racism is rooted in signifiers regardless of the time of day.
Zora’s work is currently on view at the California Institute of Integral Studies in San Fransisco from July 5 – October 28.
Zora J Murff is an MFA Candidate in Studio Art at the University of Nebraska–Lincoln. Zora attended the University of Iowa where he studied Photography and holds a BS in Psychology from Iowa State University. Combining his education in human services and art, Zora’s photography focuses on race, identity, and how images are used to reinforce social and cultural constructs. His work has been exhibited nationally and internationally, and featured online including the British Journal of Photography and The Guardian. His work has also been published in Aperture Magazine, VICE Magazine, GOOD Magazine, and The New York Times. Zora was the Daylight Photo Award Winner in 2017, a Lensculture 2017 Top 50 Emerging Talent, and a Joy of Giving Something Fellow through Imagining America in 2016. Zora’s first monograph, Corrections, was published by Aint-Bad Editions, and his second monograph Lost, Omaha was published by Kris Graves Projects. Zora is also a Co-Curator of Strange Fire Collective with Jess T. Dugan, Hamidah Glasgow, and Rafael Soldi.
How has studying photography changed the way that you think and create photographic imagery?
My educational background isn’t in art, and I wasn’t exposed to much art growing up. I graduated with a degree in Psychology in 2010, and that led me into the human services field. I picked up photography as a hobby and eventually decided to study it. When I began my first series Corrections, I was still pretty naive to what could be accomplished with photography, but I think my experiences with–and inherent drive for–working with people was highly influential on the work that I make.
As an undergraduate student, I worked closely with Jeff Rich and Margaret Stratton at the University of Iowa, and their leanings towards documentary photography was influential in how I conceptualized my own photographs and thoughts on photography. As a graduate student, I was still very interested in documentary photography, but I became more interested in how the genre could be expanded—how I could tell a story without being so directly tied to truth. That was a special thing about going to graduate school. I had time and resources to try different approaches to photography and broaden my thoughts on it.
Over the course of nearly six decades, William Eggleston--often referred to as the "father of color photography"--has established a singular pictorial style that deftly combines vernacular subject matter with an innate and sophisticated understanding of color, form, and composition.
Eggleston has said, "I am at war with the obvious." His photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. Though criticized at the time, his now legendary 1976 solo exhibition, organized by the visionary curator John Szarkowski at The Museum of Modern Art, New York--the first presentation of color photography at the museum--heralded an important moment in the medium's acceptance within the art-historical canon and solidified Eggleston's position in the pantheon of the greats alongside Henri Cartier-Bresson, Robert Frank, and Walker Evans.
Published on the occasion of David Zwirner's New York exhibition of selections from The Democratic Forest in the fall of 2016, this new catalogue highlights over sixty exceptional images from Eggleston's epic project. His photography is "democratic" in its resistance to hierarchy where, as noted by the artist, "no particular subject is more or less important than another."
Featuring original scholarship by Alexander Nemerov, this notable presentation of The Democratic Forest provides historical context for a monumental body of work, while offering newcomers a foothold in Eggleston's photographic practice.
Source (Rudakov Youtube)(https://www.amazon.com.
by PETE LITTLEWOOD
The Ausseerland, in the geographical middle of Austria, is an area of outstanding natural beauty with its crystal clear lakes and impressive mountain backdrops. Beneath its picture-postcard appearance, the region and its inhabitants preserve a strong sense of tradition and heritage, while equally embracing change and progression. Austrian Leica S photographer Armin Walcher explores this fascinating region in search of the hard-to-pin-down sense of local identity via 30 in-depth encounters with local craftspeople, musicians, and artists. The personal stories are told via images and text in the beautifully compiled book “Zeitlos in Bewegung”, while an interactive website includes compelling videos, offering more insight into the 30 individual stories. Here we feature just a few of these local characters and speak with Armin about the challenges of capturing such an elusive concept as local identity in photographic form.
You used to be a professional athlete before you became a photographer, how did you transition from one career to the next?
It was more or less by accident. During my career as a professional athlete, I wanted to update my website with better photos. So I bought a better camera. I immediately fell in love with the feeling of photography, which I had not been able to imagine before. I really got obsessed and started to do more and more and more…
How did your passion for photography develop? Is there anyone in particular, who influenced or inspired you along the way?
The development went from nature to sports, then to commercial, people and documentary photography. It was a process, I would say. I had to grow as a person to go more into people and documentary photography. I could not imagine that when I started to shoot. It took me some time.
Nature photography is still a learning process for me. I gain new insights each time I shoot, I keep discovering new things and I appreciate it if situations have meaning in an honest way, not in a spectacular one.
I learn a lot from each kind of photography, which keeps my life and my life as a photographer in fascinating movement. I don’t want to stand still. I want to develop. I can’t say who influenced or inspired me in particular, but my dad is a big part of my career in photography. He loves photography and always has honest feedback.
Morgan Roberts speaks with Speaks with Sam Attwood and Chloe Brescia of Raquet Film in Newfarm about everything from A to Tri-X ...
WECC Member Nick Bedford has posted his latest set of awesome images over at his Journal page at nickbedford.com. Always a treat, his latest film frenzy shows of some great Kodak Portra and Ektar 100 colour work along with the norm Tri-X variants and some Rolleiflex Ilford HP5+ action.. worth a look. ENJOY
Since I seem to be shooting both black and white and colour a lot now, I'm renaming these posts to simply Photo Vol. X. Seems more fitting and flexible. The Rolleiflex has been great, though I need to put it to more use with some Kodak Portra colour film and make some new portraits with it. The Leica M7 is still down in Melbourne at the servicing shop, though I have some recent 35mm Portra 160 photographs from a camping trip I went on with my mate Dash before I sent it away.
We managed to get the Pakon F135+ to scan raw TIFFs of colour film and the results are quite astounding, even despite the limited resolution of the scanner (6 megapixels). The latitude in colour film is amazing.