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...and it will be then again.
Concepts Not hard enough?
- Thread starter sirch
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To indicate that this thread is a discussion of theoretical concepts
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- Dave
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I don't know, the EXIF data is missing.
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Photography always records the past.
OP
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- The other Chris
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No I hadn't until now, it seems reasonable to me, we do feel different in the city than in the countryside, for example, and I have a definite affinity for karst landscapes, especially karst by the sea.
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It might've been handed in at the police station ...
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Here's my take on psychogeography :
https://www.onlandscape.co.uk/2013/02/a-sideways-glance-part-one/
https://www.onlandscape.co.uk/2013/03/a-sideways-glance-part-two/#comments
I think I must have said in Part One that the photographer is ideally placed to illustrate the relationship between "us" and our surroundings.
And yes, the term did originate around city wanderings but I see no reason why it shouldn't refer to the countryside as well.
(Post edited to include part 1)
https://www.onlandscape.co.uk/2013/02/a-sideways-glance-part-one/
https://www.onlandscape.co.uk/2013/03/a-sideways-glance-part-two/#comments
I think I must have said in Part One that the photographer is ideally placed to illustrate the relationship between "us" and our surroundings.
And yes, the term did originate around city wanderings but I see no reason why it shouldn't refer to the countryside as well.
(Post edited to include part 1)
Last edited:
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...in the now of when you press the button.
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In the past as soon as your release it.
OP
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For a long time (I think I posted on here about years ago) I have been shooting a series with the working title "Custodians" when I am out and about and it consists of the detritus that farmers and other landowners leave around, plastic buckets, broken gates, signage, etc. which, if it was left by visitors the landowners would be the first to complain. Whilst not directly psychogeography your article put it in my mind as a "sideways glance" at the landscape.
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That's the kind of thing I was talking about; you never know what you will find but the mind-set to continue the project is always there.
Yes, I like it ..... the Custodians of the Countryside
Yes, I like it ..... the Custodians of the Countryside
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I make records of rubbish in a public setting but it's difficult to make the images interesting of themselves. Here are two that I think (more or less) work...
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I don't think that there should be some sort of arbitrary difficulty barrier that determines a photograph is worthwhile or not. Some photographs will be hard to achieve by their nature, wildlife for example, because they require planning, skill, equipment, and even luck for the most part. But the fact that someone might spend months of effort in difficult conditions in order to capture a picture of a rare bird or something doesn't necessarily mean that it will be a "good" photograph. Even if the result is technically perfect, with great composition. and amazing light, the subjectivity of the individual viewer will still determine its worth.
For me a photograph could have been years in the making or a complete accident and it makes no difference as to whether I'll prefer one, both, or neither. I take them at face value, not based on what it took to achieve them.
I rarely plan any photos I make (beyond perhaps travelling to a location). I just go somewhere and I photograph things I see. As I wander around places I will spot pictures - something in my head will kinda flash up and say "there's a photo!". It's based purely on what I like, and very rarely with any audience in mind other than myself, and it happens whether I have a camera with me or not (sometimes frustratingly...). I'll basically photograph anything if it looks like it will make a picture that I will find interesting. The Garry Winogrand quote "I photograph to find out what something will look like photographed" is pretty much what I do. There are always photos to be found, even in the most mundane of locations, it's just a matter of seeing them.
I look at other photographers work often - it's an amazing source of inspiration - and I'll find pictures there that I like and embrace them into my style - but it's very much about inspiration, and never about duplication. I might seek to make similar pictures, but I don't want to make the same pictures.
For me a photograph could have been years in the making or a complete accident and it makes no difference as to whether I'll prefer one, both, or neither. I take them at face value, not based on what it took to achieve them.
I rarely plan any photos I make (beyond perhaps travelling to a location). I just go somewhere and I photograph things I see. As I wander around places I will spot pictures - something in my head will kinda flash up and say "there's a photo!". It's based purely on what I like, and very rarely with any audience in mind other than myself, and it happens whether I have a camera with me or not (sometimes frustratingly...). I'll basically photograph anything if it looks like it will make a picture that I will find interesting. The Garry Winogrand quote "I photograph to find out what something will look like photographed" is pretty much what I do. There are always photos to be found, even in the most mundane of locations, it's just a matter of seeing them.
I look at other photographers work often - it's an amazing source of inspiration - and I'll find pictures there that I like and embrace them into my style - but it's very much about inspiration, and never about duplication. I might seek to make similar pictures, but I don't want to make the same pictures.
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Nan Goldin is someone I'm aware of and whilst I appreciate her work, it's not a style I try to replicate.
Kértész, Doisneau, Arbus, Freidlander, Winogrand, Cartier Bresson, Eggleston are a few that inspire me.
Capturing what was just in front of the camera is I suppose the bread and butter of a 'street' photographer capturing the story that's in front of them
Kértész, Doisneau, Arbus, Freidlander, Winogrand, Cartier Bresson, Eggleston are a few that inspire me.
Capturing what was just in front of the camera is I suppose the bread and butter of a 'street' photographer capturing the story that's in front of them