“My suggestion for any new camera you might acquire — whether factory fresh or just fresh to you — is to forget about it. Shirk it off to a shelf to gather dust, or if it’ll fit toss it in a jumble drawer, if not then gambol it to the garage. Doesn’t matter really, box it up and bury it in the ground if that’s what’ll get it out of sight. If you can’t keep it out of mind then best lend it indefinitely to an untrusted friend.
Should your photographic needs be more immediate then drop it, more then once, hard, to the ground. Bang it against a door jam, leave it out in the rain, drown it in the lake. Resist the feel of the sleek lines in your hand, the possibilities of its capabilities, the rigor mortis of its engineering. What you wanna do is make it known who’s in charge.”
“The case of photography archives is somewhat related to the case of Flickr. Flickr might be the most obvious case of a living photography archive. Facebook might have more photographs, but since Facebook changes their rules every other day, the site is unusable as an archive for anyone other than the company itself (which is, let’s face it, the idea). In the case of Flickr, you have, for example, La Pura Vida, which, in a sense, data mines the site to extract photography.” —Conscientious | The case for mining photography archives
“You can start to build relationships with people when you give them intimate access to your work,” Eich said, noting that he hopes to build a community around his work. “I’m going to take people with me to Mississippi in ways that I’ve never done with other people. It’s a little daunting, to be honest, but I’m going to give them their money’s worth.” —Emphas.is builds community of support for quality photojournalism | Poynter.
“A collective is inherently informal, and I’m sure that’s going to piss off somebody who’s reading this. Somebody else will say that they have a collective model and that what I’m saying is not the case. I’m sure that that exists. But, for us, not only do we want to put our material in the same place, but we have a central mission and a central purpose for doing that. We have a real clear procedure for how we vote and how we move forward. We have a real clear procedure for accountability. We have those internal workings that actually make us do the root of that word: co-operate. To work together to accomplish a common set of goals. That’s what a co-operative is about.” —A Photo Editor - LUCEO Images And The Future Of Photojournalism
“The way I do things is like taking one photograph and the exposure is 8 hours, the whole day is the exposure,” says Learoyd. “There is hardly anybody who works in studios in the context that I do because it’s painful. Its difficult. It’s a brain ache.” —Uncomfortably Close: Richard Learoyd’s, Presences - LightBox
“Animated photography” using GIF loops has the smell of novelty, a la the “solid photography” of yesteryear (sculptures based on photos taken from multiple angles), holograms, or even stereograms that aspire to classical (that is, ordinary) beauty. The point of freezing the fleeting perfection of the human form is rather blown when a part of the icon wiggles.” —Highbrow Kitsch at tom moody
“But the big break came with 20x200. A mix of the quixotic, quirky and cute: Browse the site, and you’ll encounter everything from witty text-oriented prints to moody photographs of baby animals to colorful graphic designs that look like album cover artwork. While much of it seems accessible and upbeat—the sort of stuff you could show your fuddy-duddy dad, while also appealing to your angsty teenage daughter—there are pieces that aren’t as easily digestible.” —Jerry Portwood profiles Jen Bekman and the revolution in art collecting