The general population now uses imaging as a kind of language. That's the nature of the kinds of working images they want and use in their personal lives. It's a living language.via After the gold rush. Where is photography headed? (*) by Kirk Tuck (*).
Happy with the result, but at the same time just slightly disappointed, [..] I raced a good race, I had fantastic support from Aussie team mates as usual. I can’t thank them enough. At the end of day, I was just beaten by a better rider.via Gerrans: ‘At the end of the day, I was beaten by a better rider’ (*) by Cycljng Tips (*).
We know that whoever gets closest to their customer wins and that’s never been more true than it is in a world where you are not limited by the boundaries that domain knowledge, distance or even monopolies once created.via Close, Closer, Closest (*) by The Story of Telling (*).
our influences are more than just what artists we've studied or admired. We all bring our own personal experiences, biases and values to our photographs, whether it's a conscious effort or not.via Finding the Story in Your Street Photography (*) by Joe Newman (*).
Since the earliest days of photography, architecture has been the medium’s most willing accomplice.via Constructing Worlds at the Barbican review – how photography fell in love with architecture (*) by Sean O'Hagan (*).
art is more than a studied eyeful. It can offer helpful instruction about day-to-day living—at times consoling, redeeming, guiding, and inspiring viewers.via Alain de Botton's Guide to the Works in Amsterdam's Rijksmuseum (*) by Chantel Tattoli (*).
When I shoot (*), I focus (*) on what is in front of me. But when I edit (*), I concentrate on what I want to say or tell, and most of the time it ends up being different from what I thought it would be. I think I can say that shooting for me is an intuitive (*) process, but editing is a very conscious (*) one.via Talking Photographs with Chris Leskovsek (*) by Michael Ernest Sweet (*).
I went without any expectations (*); no plans. I really wanted to go and get lost, and literally let everyday encounters guide me through. Why [exotic location xyz]? It's really uncertain (*), but I've always been interested in places I know very little about, or that there is little information about.via Talking Photographs with Chris Leskovsek (*) by Michael Ernest Swee (*).
They are always different. They are always the samevia David Mclean Street Portraiture - 1883 Magazine (*) by Jay Mitchell (*).
I’m aware that you can look at things too much and you can kill them, like listening to your favourite record too much or eating your favourite food. We can absolutely kill the things we love by too much exposure to them.via Studio Visit: Stephen Gill (*) by James Brown (*) via photographs on the brain (*).
A conventional coach focuses first on skills. A relationship-based coach, on the other hand, focuses first on creating a sense of belonging.via The Best Locker-Room Speech Ever, and Why it Works (*) by Daniel Coyle (*).
A conventional coach asks: what can I do to help them win? A relationship-based coach asks: what can I do to help us nurture connections and create a culture?
A conventional coach views his team through the lens of performance. A relationship-based coach views his team through the lens of family — which, not coincidentally, tends to make the teaching all the more effective.People work hard for a team. They work even harder for a team that truly feels like family.
When I look at one of my photographs, I do not see what you see. I see the moment on the street where I made the photograph and I feel into that experience. Simply put, I do not see objectively (*) - my viewing is subjective (*).via Joel Meyerowitz and Twelve Other Street Photographers on Their Best Photographs (*) by Michael Ernest Sweet (*).
Vivian is like anybody who gets intensely into an art form. She went to museums, saw other photographers, but was never schooled or trained. So she took the best of what she saw, internalized it, and then she worked obsessively.via Vivian Maier | September 2014 Notables (*) by Tim Belden (*).
Telling the story as a street photographer is different than telling the story as a journalist or documentary photographer. While journalists set out to record "the first rough draft of history," the story you tell as a street photographer is entirely in the viewer's mind.via Finding the Story in Your Street Photography (*) by Joe Newman (*).
best is a superlative, yet for any[one..] best also signifies a work from different periods of development and growing consciousness.via Huffington Post and my best street photograph - alexcoghe (*) by Alex Coghe (*).
That’s what I mean by new. [..] I’m talking about when they first came out, before there was a cultural slot in our brains for them. Berfore they were familiar. Was it instant recognition? Or was it confusion, doubt, even discomfort?via Dear Juried Exhibition, do you really want new? (*) by Douglas Lowell (*).
Most of my projects last for years. I don’t feel I can achieve anything worth saying in a few weeks in a place. I have always been interested in why I am drawn to something and why I eventually push the camera button. Most of it comes from memory, the subconscious and events I experienced growing up.via An interview with Trent Parke - Try Hard Magazine (*) by Try Hard Magazine (*).
a time in our lives when we did not know how powerful it was not to know.Finally, as Trent's quote from above mentions, I think these two photos are about memory (*) and the subconscious (*). They are also about change - even though nothing really looks that different about the roofs, nine years have passed and so much has changed. Maybe that's what I was trying to say here (*) about change (*) before we departed.
