"Photography’s immediacy allows it to operate in pairs, triplets, or even larger groups. The larger the group, the trickier it gets - after all, the human brain does require a small amount of time to take in a single image. But that amount of time is small compared with how long it takes to take in a video, or listen to just enough of a piece of music to be moved by it. Two photographs next to each other thus manage to “speak” in ways that two videos or pieces of music never could. Use three of four photographs, and you get a little sequence that almost operates like a melody, a little line of music that hints at something larger, but that (potentially) triggers a reaction that results from something beyond the individual notes."
- Joerg Colberg, Review: After the Threshold by Sandi Haber Fifield (via photographsonthebrain)
(via photographsonthebrain)
"I set out to do my own pictures, and fuck ‘em if they didn’t like it. And they didn’t like it, and they kicked my ass right out on the street. On a certain level I’m very thankful for Magnum because they really helped me understand that you can’t make pictures for anyone else but yourself. You’ve really got to follow your own beat."
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Round of applause.
(via photographsonthebrain)
(via photographsonthebrain)
"Let this be a lesson, young folks. You need not have any curiosity, anything to say, or even much photographic ability (and you certainly needn’t be competent at processing): just have a gimmick, something that seems novel and can be explained in one paragraph for Wired or Buzzfeed. [Bonus points if your gimmick involves a lot of neat-sounding technology that captivates/confuses baby boomers.] People who “like photography” actually like reading stories about how photos are made more than they “like” photos. So give them a novel story, that’s all you need."
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Kramer O’Neill (via photographsonthebrain)
;)
(via photographsonthebrain)
