Tuesday, September 30, 2014

On Photography - Kirk Tuck (Tue 30 Sep 2014)

Self Portrait (*) - Zurich (Thu 25 Sep 2014)

Kirk Tuck (*) writes Inspiration (*):
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 (*).

Eiffel Tower #2 - Paris (Tue 16 Sep 2014)

Eiffel Tower #2 - Paris (Tue 16 Sep 2014)

On Colour - Annamaria Cimbal - Burano / Italy (Wed 10 Sep 2014)

On Colour - Burano / Italy (Wed 10 Sep 2014)

Annamaria Cimbal (*) on Colour (*):
Color is like Music
IT uses a shorter way To
come to our Senses, To
awaken our EmoTions.

Monday, September 29, 2014

On Competing - Simon Gerrans (Sun 28 Sep 2014)

Untitled - Tour of Great Britain / London (Sun 14 Sep 2014)

Simon Gerrans (*) writes on Competing (*):
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 (*).

On Boundaries - The Story of Telling (Wed 24 Sep 2014)

Intersection (*) - Marco Polo Airport / Venice (Thu 11 Sep 2014)

Bernadette (*) writes Boundaries (*):
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 (*).

Sunday, September 28, 2014

On Photography - Sven Kraeuter (Fri 26 Sep 2014)

Untitled - Westminster Bridge / London (Sun 14 Sep 2014)

Sven Kraeuter (*) writes on Photography (*):
Is the above scene staged or candid? Where does candid end and staged start?
via Who Do You Take Pictures For? (Guest Post from Sven Kraeuter) (*) by Eric Kim (*).

Saturday, September 27, 2014

Annett, Eve, Eileen, Joanne and Geoff - Ealing / London (Sat 13 Sep 2014)

Annett, Eve, Eileen, Joanne and Geoff - Ealing / London (Sat 13 Sep 2014)

Friday, September 26, 2014

On Influences - Joe Newman (Wed 10 Sep 2014)

Red - Venice (Tue 09 Sep 2014)

Joe Newman (*) writes on our Influences (*):
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 (*).

Eiffel Tower #1 - Paris (Tue 16 Sep 2014)

Eiffel Tower #1 - Paris (Tue 16 Sep 2014)

Thursday, September 25, 2014

On Boundaries - Seth Godin (Tue 23 Aug 2014)

Padrão dos Descobrimentos (Monument to the Discoveries) [*] - Lisbon (Tue 13 Aug 2013)

Seth Godin (*) writes Inspiration (*):
the world keeps getting smaller and ideas and connection are the currencies that matter, not atoms or molecules.
via Smaller and smaller (*) by Seth Godin (*).

On William Eggleston - Matthew Israel (Wed 24 Sep 2014)


Matthew Israel (*) writes William Eggleston (*):
In Eggleston's world, objects often fray at the edges, erode or allude to the underside of society.
via Is This the Most Important Photograph of the 20th Century? (*) by Matthew Israel (*).

Tuesday, September 23, 2014

On Architecture and Photography - Alona Pardo and Elias Redstone / Sean O'Hagan (Mon 22 Sep 2014)

Untitled - Big Ben (*) / London (Sun 14 Sep 2014)

Alona Pardo (*) and Elias Redstone (*) writes on Architecture (*) and Photography (*):
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 (*).

On Art - Chantel Tattoli / Architectural Digest (Tue 06 May 2014)

Joanne and Bar du Follie (*) - Courtauld Gallery / Somerset House / London (Mon 15 Sep 2014)

Chantel Tattoli (*) writes on Art (*):
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 (*).

Monday, September 22, 2014

Interpreting Art - William Todd Schultz (Sat 20 Sep 2014)

A Bar at the Folies-Bergère (*) - Courtauld Gallery / London (Mon 15 Sep 2014)

William Todd Schultz (*) writes on Art (*):
what keeps art alive is exactly interpretation—talking about it, speculating about it.
via More About the 'Torture' Post (*) by Michael Johnston (*).

Sunday, September 21, 2014

On Photography #2 - Chris Leskovsek / Michael Ernest Sweet (Sat 20 Sep 2014)

Bart Simpson with Blue Car - St Julians / Malta (Sat 20 Sep 2014)

Chris Leskovsek (*) writes Photography (*):
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 (*).

On Photography #1 - Chris Leskovsek / Michael Ernest Sweet (Sat 20 Sep 2014)

Blue Car - St Julians / Malta (Sat 20 Sep 2014)

Chris Leskovsek (*) writes Photography (*):
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 (*).

Saturday, September 20, 2014

On Photography and Luck - Henri Cartier-Bresson / John Paul Caponigro (Fri 21 Mar 2014)

Untitled - Henri Cartier-Bresson Foundation (*) / Paris (Thu 18 Sep 2014)

Henri Cartier Bresson (*) on Photography (*) and Luck (*):
Of course it’s all luck.
via 29 Quotes By Photographer Henri Cartier Bresson (*) by John Paul Caponigro (*).

Street Portraiture - David McLean / Shot by Shooter (Jul 2014)

Untitled - Piccadilly / London (Fri 12 Sep 2014)

David Mclean (*) on Street Portraits (*) [quoting David Mclean (*)]:
They are always different. They are always the same
via David Mclean Street Portraiture - 1883 Magazine (*) by Jay Mitchell (*).

My favourite from the trip so far. Love the hands, the tshirts, the chains and most of all her smile and eyes. Sometimes you just get lucky but you have to in the game - you've got to be trying, but not too hard.

Friday, September 19, 2014

On Editing - Stephen Gill (Wed 20 Aug 2014)

Tree - London Fields / Hackney / London (Sat 13 Sep 2014)

Stephen Gill (*) writes Editing (*) and Overexposure (*):
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 (*).

Thursday, September 18, 2014

What If? #4 - Story of Telling (Wed 10 Sep 2014)

Into the Dream - London (Fri 12 Sep 2014)

The Story of Telling (*) writes on What If (*):
What if sharing my dream makes people believe the impossible is possible?
via What If? (*) by The Story of Telling (*).

What If? #3 - The Story of Telling (Wed 10 Sep 2014)

Untitled - London (Sat 13 Sep 2014)

The Story of Telling (*) writes on What If (*):
What if today is the last time I get to make change?
via What If? (*) by The Story of Telling (*).

Wednesday, September 17, 2014

What If? #2 - The Story of Telling (Wed 10 Sep 2014)

Untitled - Somerset House / London (Mon 15 Sep 2014)

The Story of Telling (*) writes on What If (*):
What if three words gave people the courage to question the answer?
via What If? (*) by The Story of Telling (*).

What If? #1 - The Story of Telling (Wed 10 Sep 2014)

Untitled - Westminster Bridge / London (Sun 14 Sep 2014)

The Story of Telling (*) writes on What If (*):
What if this moment helps someone to see?
via What If? (*) by The Story of Telling (*).

Tuesday, September 16, 2014

On Coaching - Daniel Coyle (Mon 15 Sep 2014)

Garmin Team Bus - Westminster Bridge / London (Sun 14 Sep 2014)

The Talent Code (*) writes Inspiration (*):
A conventional coach focuses first on skills. A relationship-based coach, on the other hand, focuses first on creating a sense of belonging.

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.
via The Best Locker-Room Speech Ever, and Why it Works (*) by Daniel Coyle (*).

A great post and it is definitely worth reading. It has helped me understand how well we did in Ravenna and it is the kind of message that will help motivate me to keep paddling at the same level and intensity I have now for 10 years. Both Paul's and Gavin's talks on the last day of racing are examples of this. I will post some more from the post later.

On Photography - Michael Ernest Sweet (Tue 02 Sep 2014)

Untitled - Venice (Tue 09 Sep 2014)

Michael Ernest Sweet (*) writes on Photography (*):
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 (*).

On Vivian Maier - Tim Belden (Mon 15 Sep 2014)

Street Portrait (*) - Westminster Bridge / London (Sun 14 Sep 2014)

Tim Belden (*) writes on Vivian Maier (*):
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 (*).

Westminster Bridge had been closed for the final stage of the 2014 Tour of Great Britain. The Teams had used the Bridge to park the their buses and the crowds were allowed to mingle and walk along the Bridge. The sun was low and as it usual does at that of the day, had broken through, and those walking back to Westminster Tube Station were beautifully lit. I love the detail of the face and the shadow of his chin. This is my favourite. Maybe Vivian Maier (*) has been a role model to me. Thinking about it, I should definitely think so.

Monday, September 15, 2014

On The Story of Telling - Joe Newman (Wed 10 Sep 2014)

Was it a Dream? - Burano / Italy (Wed 10 Sep 2014)

Joe Newman (*) writes on The Story of Telling (*):
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 (*).

Burano is a beautiful little island about 45 mins from Venice by a small Ferry. It felt so far from anywhere. We arrived late in the day and the shadows were long and the colours were striking. We bumped into Loretta here and she can seen on then left path with a couple of paddlers from Mt Warning. Loretta was the Australian Team Manager in 2007 and 2013.

Monday, September 8, 2014

Best - Joel Meyerowitz / Alex Coghe (Thu 04 Sep 2014)

Lotto Superenalotto - Cervia / Italy (Mon 08 Sep 2014)

Joel Meyerowitz (*) writes on your Best (*):
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 (*).

On a bus on the way to Venice from Cervia. Ravenna 2014 Club Crews was the strongest of the four I have been to. Incredibly strong competition and we really did not have a chance. A couple of seconds off the podium in the Mixed 2km, our first race. We did not know who we were racing against then and it was a bitter sweet moment. Another case of not knowing how powerful it is not to know. Overall, an awakening of where we and I stand against the best in the world. Starting to feel like I am paddling a little our of my age category, but I hope to have a few more campaigns in me. Thanks to everyone who made this happen. Onwards to Venice in an hour or so. Cheers.

Green #2 - Bolgona (Fri 29 Aug 2014)

Green #2 - Bologna (Fri 29 Aug 2014)

Friday, September 5, 2014

Green - Bologna (Fri 29 Aug 2014)

Green - Bologna (Fri 29 Aug 2014)

Tuesday, September 2, 2014

The New - Douglas Lowell (Tue 02 Sep 2014)

Untitled - Bologna (Sat 30 Aug 2014)

Untitled - Bologna (Sat 30 Aug 2014)

Douglas Lowell (*) writes on The New (*):
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 (*).

On Photographic Projects - Trent Parke (Wed 27 Aug 2014)

Untitled - Milan Station (Aug 2005)

Untitled - Milan Station (Thu 28 Aug 2014)

Trent Parke (*) writes On Projects (*):
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 (*).

Both stops in Milan (*) were short (about an hour) and these were quick shots taken with baggage in hand, explaining the wonkiness of each photo. I always remembered the 2005 photo and see it often amongst my favourite photos (*) on Picasa.

In 2005 (*) were heading north to Interlarken (*) from Genoa (*) and Jenny was with us. This time we heading to Bologna (*) from Zurich (*).

The Canon Pro1 (*) I used in 2005 has always been my favourite camera and the sensor gave beautiful textured and coloured images [see here (*)]. It was definitely a quirky camera, but my favourite.

It stopped working in January 2009 on our last Main Range (*) walk with Jenny. An omen of sorts I should think. It's last few images were ghostly white with faint silhouette's of Jenny and Joanne at the Summit (*) of Mt K.

I have said it few times here over the years, when I have talked about past photos, I think I saw my photos better back then. I was less knowledgeable and more naive. In some ways it has helped me understand what Bono (*) was trying to say in front of large crowd of fans at the base of the Brooklyn Bridge (*) looking into Manhattan (*) when he said (*) it was about:
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.

So, I am happy to have these two photo, the opportunity to make them and these random thoughts here now.

Zurich Station - Zurich (Thu 28 Aug 2014)

Zurich Station - Zurich (Thu 28 Aug 2014)