“Somewhere down in the Flatiron, out in Brooklyn, over in Queens or up in Harlem, cabals of bright young things are watching all the disruption with more than an academic interest. Their tiny netbooks and iPhones, which serve as portals to the cloud, contain more informational firepower than entire newsrooms possessed just two decades ago. And they are ginning content from their audiences in the form of social media or finding ways of making ambient information more useful. They are jaded in the way youth requires, but have the confidence that is a gift of their age as well.”—The Media Equation - For Media, a Sunset Is Followed Quickly by a Sunrise - NYTimes.com
“The contact sheet is the most direct, intimate thing in film-based photography. There’s nothing virtual about it. After light hits the film in your camera and after the exposed film is developed, you create a contact sheet by bringing the negative in direct contact with a sheet of photographic paper and shining light on it again. The end result is usually a grid of images, or really a stack of strips, small prints of what you shot, exactly the size of the negatives. Adding to the physicality of this object, photographers often draw directly on their contact sheets with an orange or red crayon, marking up the images they plan to enlarge and print.”—Nostalgia for the contact sheet. - By Sarah Boxer - Slate Magazine
“'In the past I've shot documentary projects that were so meticulously planned I felt I knew what I was shooting before I even got there,' he says. 'Now my approach is more freeform, more organic. It takes longer and means I end up with more threads of work, but I can put my own narrative on it (instead of following traditional documentary style).' - Ben Roberts”—Bricking It - British Journal of Photography
“Their key insight is that creative ideas can only spread if they’re actually adopted by others. Too much creativity, and there’s not enough imitation—ideas die on the vine, because there are so many of them and few ever catch fire. For good ideas to spread, there’s an optimal balance to be reached between creating and imitating.”—Is Imitation the Hidden Key to Creativity? | Design & Innovation | Fast Company
“Things keep changing, whether we like it or not, and clinging to some point in the past like a barnacle on the butt of history, regardless of how glorious the world seemed back then (and believe me, the longer you live, the more you realize that any “glorious” era you were lucky enough to live through was relative to your unique position…the world always more or less sucks for most people at any given time) only serves to fossilize your opinions and their helpfulness to others still engaged.”—Edward_ Winkleman
Was I doomed then to remain a weekend warrior, an effete dilettante spending more time talking about photography on the Internet than actually doing it?
In an attempt to avoid this fate, I knew that it was essential at my stage of development to photograph regularly somehow. After considerable to-ing and fro-ing, an accommodation was eventually reached, one that was more on my terms: I began bringing a camera along to work, photographing my surroundings. And as this project progressed and I slowly learned my craft, I became increasingly fascinated with other photographers who had been in a similar situation, those who had found themselves recording their own jobs:
People seem a bit reluctant to point specific fingers, but this is not, to me at least, surprising. The reason is that they themselves are responsible. Why? Because they all got teaching jobs during the big expansion of art programs in the 70’s (especially), and have become middle aged and complacent in their positions. You can’t blame them for this, but you can’t trust them either, to point the way to the future. They are too secure, too armchair, too invested in the status quo, however much they make a show of trying to shake it up.
If you really want to figure out what’s going to happen, forget about these people and pay attention to the under thirties, the unemployed (or working crappy day jobs), the entrepreneurs, the crazies, the geniuses. They’re the ones who are going to actually make the future. - John Legweak
“He also made about 3,000 hours of astonishing audiotapes. After moving in, Smith wired the building from the sidewalk to the fifth floor. He recorded Martin Luther King and President Kennedy giving speeches on radio and tv, Jason Robards reading F. Scott Fitzgerald’s essay “The Crack-Up,” and late-night callers to Long John Nebel’s radio show who claimed to have seen UFOs and been abducted by aliens. Smith also kept the tapes rolling when not much was happening. On one tape from 1962, you can hear a neighborhood beat cop wander into the loft and Smith, clearly familiar with the officer, says proudly, “You know, my son Pat got married last weekend.”—A Public Space | Gene Smith’s Sink
“I try to distance myself from a certain type of documentary photography that often avails itself of symbols that are too easy to read and assimilate in order to present a complex reality in a balance that is endlessly discussed over and over between photography as an instrument of documentation and photography as being completely subjective. It isn’t the eye that photography poses on the world that interests me but its most intimate rapport with that world. - Antoine d’Agata, 2004”—Flickr: Discussing The Cambodian Room - Situations with Antoine D’Agata in Hardcore Street Photography (HCSP)
“My big theory is that in photography it doesn’t function as a narrative, but the photographer takes the place of the protagonist in the story, and you take the place of the photographer. I use the example of the last picture in the Americans, where Frank shows the picture of his child and his wife in the car. That picture makes you really think about him, about the journey. That’s what gets me excited about photography.”—
“In a world where the 2 billionth photograph has been uploaded to Flickr, which looks like an Eggleston picture! How do you deal with making photographs with the tens of thousands of photographs being uploaded to Facebook every second, how do you manage that? How do you contribute to that? What’s the point? It’s a real struggle.”—BIG RED & SHINY: DOG DAYS BOGOTA: A CONVERSATION WITH ALEC SOTH