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November 2009
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“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
“[Studying photography is] so much about failure, it’s so much about making pictures that are so utterly boring and overstated, you’re endlessly disappointed.”
—Larry Sultan (via rocketscience)
“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
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“‘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
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“That ambiguity is itself another cliché: making bad things appear visually seductive and good things look scary is one of photography’s oldest tricks.”
—Manufactured Landscapes - Review - Photography - New York Times
