Episode 224: Photography Ramblings

Episode 224: Photography Ramblings

Great conversations are always welcome, even when we don’t fully agree with them.  That’s what Antonio and Mark did on Switch to Manual podcast, discussing the idea of Creative Oasis.  You should definitely listen to that discussion. Having a student can give you ideas on see the world a little differently.  You as a teacher can learn a lot from a student, how they observe the world.  Which in turn makes you go through a roll of film in less than an hour instead of days or even months. 

  Old age discussion film vs digital is essentially BS.  They are both used to create images, and should be taken as such.  Film is much slower and teaches you discipline, digital allows for quick view of the images you created, and leads you to a very dangerous path of spray and pray.  Neither is better though, but I do miss film when shooting digital.  Strange. Link to the indian whiskey: https://www.thewhiskyexchange.com/p/9372/amrut Catch you all next week!

Episode 223: Chat with Devon Stapleton

Episode 223: Chat with Devon Stapleton

Devon Stapleton

Virtually unknown photographer, that we met by chance because he reached out to Shutter Time.  Oh boy am I glad he did.  Just take a look at the selection of photos above this text.  

Devon is not part of any social media, apart from Twitter, that he uses to chat with this show.  That’s about it.  It was really great that he agreed to join Shutter Time for a personal chat about his photography.  Remember mark the date of July 1 2019, as that when he promised to have his gallery site up and running!

His twitter handle is  if you would like to drop a line and have a chat with a really great photographer.

See you all next week!!

Episode 222: Featured photographer – Edward Weston

Episode 222: Featured photographer – Edward Weston

 Edward Henry Weston (March 24, 1886 – January 1, 1958) was a 20th-century American photographer. He has been called “one of the most innovative and influential American photographers…”[1] and “one of the masters of 20th century photography.”[2] Over the course of his 40-year career Weston photographed an increasingly expansive set of subjects, including landscapes, still lives, nudes, portraits, genre scenes and even whimsical parodies. It is said that he developed a “quintessentially American, and specially Californian, approach to modern photography”[3] because of his focus on the people and places of the American West. In 1937 Weston was the first photographer to receive a Guggenheim Fellowship, and over the next two years he produced nearly 1,400 negatives using his 8 × 10 view camera. Some of his most famous photographs were taken of the trees and rocks at Point Lobos, California, near where he lived for many years.
When Edward Weston Took Photographs for Walt Whitman’s ‘Leaves of Grass’
“Although the book was a failure, Edward Weston considered his 1941 photographs for Walt Whitman’s ‘Leaves of Grass’ as some of his best work.”
  • Photography suits the temper of this age – of active bodies and minds. It is a perfect medium for one whose mind is teeming with ideas, imagery, for a prolific worker who would be slowed down by painting or sculpting, for one who sees quickly and acts decisively, accurately.
— Edward Weston
One of his most famous works, titled Pepper No. 30, is a B&W photo of a single green pepper with beautiful, soft lighting. Here’s a fascinating, little-known fact about the piece: it was shot at an aperture of f/240 with an exposure time of 4-6 hours.
It is a classic, completely satisfying, ” a pepper ” but more than a pepper; abstract, in that it is completely outside subject matter. It has no psychological attributes, no human emotions are aroused: this new pepper takes one beyond the world we know in the conscious mind.
Even Weston’s approach to taking photographs was dictated by this philosophy: “In choosing equipment there were two points to be kept in mind: (1) that all money saved on general equipment would mean more film, more travel; and (2) that all time saved by simplifying equipment and daily procedure meant more time photographing.”
It was great chatting with Antonio, who from now on will be know as Professor Brooklyn.  
See you all next week!
Episode 221: William Eggleston and photographing mundane things

Episode 221: William Eggleston and photographing mundane things

Apart from being one of the first colour photographers, credited with increasing recognition for color photography as a legitimate artistic medium to display in art galleries.
A lot of his photographs are of mundane life objects, which can be found boring in this age of 500px landscapes and portraits done to perfection. 
What makes his images so special? How can we as photographers stuck in mundane life situations create images that would be full of story and intrigue, that would captivate a viewer for more than milliseconds before they flip to another Instagram image? 
Eggleston calls this his democratic method of photographing and explains that “it is the idea that one could treat the Lincoln Memorial and an anonymous street corner with the same amount of care, and that the resulting two images would be equal, even though one place is a great monument and the other is a place you might like to forget.”

From an article, regarding the tricycle image: This work is not about evoking emotions, rather it is about noticing that which is so obvious it is overlooked.  

About the red ceiling image: His eye for color, enhanced by his dye-transfer process, ultimately enabled color photography to become a legitimate art form. Of this picture he once said, the deep red color was “so powerful, I’ve never seen it reproduced on the page to my satisfaction.”  At the time this photo was shown, most photographs were still black and white, so the vibrant red pigment was shockingly avant-garde.
The photographer’s controversial debut exhibition, “Eggleston’s Guide,” held at New York’s Museum of Modern Art in 1976, and curated by John Szarkowski. Back then, Ansel Adams, the most famous photographer of his day, wrote John Szarkowski(MOMA curator) a candidly critical two-page letter, excerpted here for the first time, wherein he called Eggleston“a put on.””I find little substance,” Adams continued.“For me,[Eggleston’s photographs] appear to be observations,’ floating on the sea of his consciousness… For me, most draw a blank.”
We have to remember that the only way is photography was expressed was thru a print. His images didn’t exist unless they were printed. So when you walked into the gallery and saw this huge red dye transfer print, it really made a statement. Today, the image exists mostly on a screen, so we’re likely to be less impressed by colorful mundane objects. We just see so much of it. 
Before this, galleries were probably showing mostly well crafted black and white prints. Color imagery was deemed only appropriate for advertising and such. 
It was a great time catching up with Antonio, and chatting about William Eggleston, and photographing mundane things.
Thank you for listening, and I’ll catch you next week.
Links to read more about William Eggleston:
Episode 220: Catching up with Olaf Sztaba

Episode 220: Catching up with Olaf Sztaba

We haven’t talked to Olaf Sztaba in 9 months.  Last episode was 182 about taking visual risks.  Since then Olaf was very busy, starting a few very important projects.

The first is the Renatus Project. It tells remarkable stories of organ transplantees.  The stories are quite amazing, and with beautiful photography, well worth reading.  

The next big project is the MediumFormat.com, which was inspired by the fact that there is nothing like it on the internet.  There is no central place that medium format photographers can find important and engaging information about their photographic format of choice.  The site, besides having news, interviews and inspirational pieces, is coupled with a beautifully designed magazine, with articles from great photographers like Patrick La Roque, Ming Thein, Lloyd Chambers, Jonas Rask, Take Kayo and Ibarionex Perello and many others.  The first edition was about 140 pages, and no advertisements of any kind.  It’s well worth the price for the magazine alone, and there are other goodies added like webinars, readers galleries, exclusive pdf guides (which are like smaller versions of the magazine).  All has a professional, premium feel and look, as you would expect from a premium item.  Check it out!

Another a little surprising thing Olaf tells us, that he is almost exclusively shooting with digital medium format camera, namely Fuji GFX 50S.  He still uses the Fuji X100F from time to time, but with the Renatus Project and MediumFormat.com he will be most likely be seen with a big fuji at his side.

It was a great catching up with Olaf.  If you have any questions, or want to chat with me, hit me up on the twitters, or leave a comment here.

I’ll talk to you all next week!