To open the doors of perception we need to go beyond this world. Which is not easy because it is familiar to us and provides a foundation for us. But if you really want to step beyond this world, all you have to do is step – and you are out.via Photography Always Shows What We Already Think We Know by Colin Pantall.
You see, you feel, you connect. That's how photography works.via The Best Photographers are Stupid? Kind of. by Colin Pantall.
Just loved the way the late afternoon light fell on the photo.
Have an opinion, tell some truth, show some emotion.via The Helicopterism of Art-Editorial Photography (*) by Jorg Colberg (*) originally from The Dreck of Photographic Muzak (*).
I write a lot about photobooks on this blog. The photobook world is small, a few thousand people, but it is dynamic. Sometimes it's too small and it gets too self-congratulatory. When it becomes most interesting is when it looks out of itself, That's when you get great photobooks that are great books - that touch on the world at large, that tie in with a bigger picture, and touch hearts and souls beyond those of the 10,000 people in the world who regularly buy photobooks.via Luton Airport, x-rays and Blue Peter (*) by Colin Pantall (*).
worked for 12 years to tell this story. He told it as a love story because he says that while war stories dark about death, war also illuminates love (*) which is the greatest expression of hope (*). It's what we live (*) for.Colin questions and challenges Photographers (*)
And because it's what we live for, it's what we want to read about. Flanagan has every reason to be self-indulgent and wallow in his father's misery, but it seems like he's translating the story for readership. He's reaching out, he's editing (*), he's adapting (*), he's simplifying (*), he's making it a story that has been written for the reader. It's written on the reader's terms.
I think an interesting question here is how often do photographers do this?; go out to the reader and sacrifice their self-indulgence to tell the story well? How often do they do this, how often don't they do this?via Whatever Evil is, it wasn't in that Room (*) by Colin Pantall (*).
In my experience (*) most people's good instincts (*) are remarkably similar, while their bad instincts are often particular. By embracing your good and bad ideas (*) and impulses, by figuring out how to incorporate them into your life (*) and your work, you somehow become more yourself. Plus, you'll probably end up in unfamiliar (*) territory, a place that will engage (*) you in ways you can't imagine (*), make you feel more alive (*).via Follow your Bad Instincts: Dos and Don'ts of Tony Fouhse (*) by Colin Pantall (*).
It's strange how one remembers things without being aware on any conscious level of why one remembers or how one remembers.via A Happy Post for Happy People (*) by Colin Pantall (*).
So take the photographs
and still frames in your mind
Hang it on a shelf
in good health and good time
Listen to your images. Let them talk back to you and you’ll be surprised with how much they can teach you about yourself.via Max Pinckers dos and don'ts: Question Yourself, Question Everything (*) by Colin Pantall (*).
Above all, always be critical and question the medium, the subject, the approach and your own position.
Have a stable of friends and colleagues [..] these people can give you enough encouragement (*), motivation (*) and self-belief (*) to plough on and develop ..via Dos and Don'ts of Anastasia Taylor-Lind (*) on Colin Pantall's blog (*).
Don’t give up when you feel down about your work. [..] Everyone experiences doubts (*) and frustrations (*) and lows along the way – I think what sets some people apart is the ability to keep the faith (*), pick themselves up, find new ways forward (*) and move on.via Say Thank You: Ciara Leeming 's Dos and Don'ts (*) at Colin Pantall blog (*).
Sometimes photography seems abstract, but then something happens that makes it concrete.Sometimes you read an almost random post by someone you don't even know - you it find so pertinent and you are deeply touched and you learn something about life and yourself. Today is one such day ..
Colin Pantall (Tue 06 Nov 2012)
I think it was a relief in some ways that she died, because she wasn't independent and it wasn't the way she wanted to live, but at the same time it was a massive shock. Not because of the death, but because of the passing of an era, the end of a living history. You can keep history alive in various ways, but when the person who witnessed it goes, it does spell the end of a chapter. It doesn't mean we should forget it, but there is still some part of a time that has gone. Things have moved on.He also talks about how someone is remembered through photographs and our memories.
things are also preserved and the family album does this admirably. It's a shorthand of memory, of history, of an edited and at times idealised past, where certain things are hidden and certain things taken away - sometimes in retrospect. Even so, we still look at it quite objectively as something quite factual.However, complementing the photos (if they were made and are available), there are the memories to draw upon and the cues (*) that inspire them:
But Elizabeth didn't have those old photos, so I wonder how she will be remembered. Just as words are sometimes better than photographs, so is food. I remember her Slovenian cooking, her gingerbread, her puddings, her cakes and so does my wife.I have learnt that it is important to remember and in some ways this has become my life purpose (*). As Colin reminds us, there are photos as well as our memories - what we remember.
