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  2. patrickjoust:

    untitled on Flickr.

    Via Flickr:
    patrickjoust | flickr | tumblr | facebook | books



    Mamiya C330 S and Sekor 80mm f/2.8

    Kodak Portra 160 NC

     

  3. carlgunhouse:

    What I Like (Erik Schubert on Mull It Over)

    mullitover:

    JONATHAN CHERRY: What did you want to be growing up?

    ERIK SCHUBERT: When I was a kid I really wanted to be a professional athlete. I especially wanted to be a baseball player or racecar driver, ideally both. I suppose that was a pretty common career choice for a young lad back in the ‘80s so my other thought was to be a tribal leader. Besides looking at Sports Illustrated, I was also a fan of National Geographic. Those NG photos of tribes looked pretty great. Nice weather, no need to worry about fashion, or money and my thinking was that once your basic needs are meet, you live pretty stress free.

    JC: Who or what is inspiring you at the moment?

    ES: The “what” is black and white photography. I’ve always seen myself as a color photographer, but recently I’ve brought B+W back into my art practice. The “who” is a pretty long list that shifts every now and then, but a few from the list are Jitka Hanzlova (I particularly love her older work, but the new work is pretty great too), Jochen Lempert, Bertrand Fleuret and Tobjørn Rødland books. I’d say I thought about how Rødland communicates through images, among other things, while working on the project and book, How to Win Friends and Influence People. Also, Luis Gispert videos, and the band Beirut, who I can’t stop listing to especially when I’m editing photos.

    JC: What are you up to right now?

    ES: I just released my first artist book, How to Win Friends and Influence People with Lavalette, so I’m enjoying the fruits of my labor so to speak. Besides this, I’m always photographing for the pure joy of it, so I’m working on several different projects at the moment. One of which is a follow up to my recent publication. And besides those photo based projects, I’m working on some textile pieces as well that relate to How to Win Friends and Influence People.

    JC: Have you had mentors along the way?

    ES: Oh yes, I’d say that all the teachers I had in undergrad at Columbia College Chicago and grad school at MassArt made an impression on me, were mentors to me at various levels, and I always learned something from them. In grad school, Frank Gohlke and David Hilliard were great mentors and pretty important to me during that time. Particularly when I was going down this new trajectory with my art practice and at times felt vulnerable about it.

    JC: Where are you based right now and how is it shaping you?

    ES: I’m based outside the Denver area. It’s been a great change from living in the city. It’s much closer in proximity to nature, which has been fruitful to my current work, but also much better for my psyche. I don’t feel or hear the constant noise of the art world, but if I’m in need of it, I can always drive up to Denver or hit up the Internet. So maybe a better summation would be that it allows me to feel more balanced.

    JC: One piece of advice to photography graduates?

    ES: Well, some general advice that couldn’t hurt any recent grads would be: Invest in your self by saving money. When applying to shows, grants, etc. employ the shotgun method. By this I mean, apply to as much stuff as possible, particularly if there are no entry fees. Really look for the no entry fee opportunities because some of these entry fees are just way too high. Invest in some nice, well-made, simple frames that you can reuse for group shows. And last but not least, have fun. I should really follow this advice to heart as well!

    JC: Is it important to you to be a part of a creative community?

    ES: Yes, I think it’s important to have a creative community, but also a community in general. I think we have different levels of community and some become more important than others during different times of our lives. During undergrad and grad school, participating primarily in a creative community was important to learn my practice and medium. Now it seems less important, even though I’m still part of communities. Now I’m learning new, maybe more complex, things from them, particularly about teaching. But this could change down the road.

    JC: If all else fails, what is your plan B?

    ES: There is no plan, I’m making it up as I go along—it’s social practice.

    @mullitovercc

    (via photographsonthebrain)

     

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  5. nhmcelroy:

    2014

     

  6. Ireland, West Coast, County Kerry, 1988 by Harry Gruyaert

    (Source: magnumphotos.com, via euo)

     

  7. benjaminheath:

    Spirit Island, Canadian Rockies

     

  8. 20aliens:

    MIKHAEL SUBOTZKY 

    (via auncel)

     


  9. anotherplacemag:

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    During 2012 I walked over 3,500 kilometres with the aim of creating a body of work which would explore the idea of long-distance walking as a form of meditation and personal transformation.

    My intention was to create a…

     

  10. London, 2014

     

  11. fractalized:

    Photos by Eamon Mac Mahon. From the series Landlocked.

    Landlocked communities of northwestern Canada and Alaska, and the vast areas of uninhabited land surrounding them.

    (via photographsonthebrain)

     

  12. selektormagazine:

    Paul Garcia, les paysages que vos yeux peuvent toucher (the landscapes your eyes can touch)

    (FR) Oubliez tout ce que vous avez déjà vu sur l’Islande, ses paysages à couper le souffle, si envoutants qu’on en oublie presque d’avoir un point de vue. Paul Garcia revient d’Islande et c’est différent. Il a fait entrer l’Islande dans ses obsessions. La rencontre du territoire volcanique et de son approche sensorielle fait des étincelles. Sa série privilégie les lignes abstraites et la lumière blanche (comme on dit bruit blanc) d’un monde pourtant profondément physique, sans opposer la nature et les matériaux moins nobles. Ce sont des paysages et des détails, parfaitement observés, mais en aucun cas des cartes postales. Ses images donnent une vision très particulière du territoire et en ce sens on est sûr de partager une expérience authentique.

    (EN) Forget everything you saw about Iceland, its breathtaking landscapes, so captivating that you almost forget to have a point of view. Paul Garcia has returned from Iceland and it looks different. Iceland fits into his process. The meeting between this volcanic land and his sensory approach makes sparks fly. His series favours the abstract lines and white light (as in white noise) of a world that is, nevertheless, profoundly physical, without pitting nature against less noble materials. These are landscapes and details, perfectly observed, but never postcards. They offer a very particular vision of the territory and in this sense you are sure that you are sharing a genuine experience.

    Voici comment il parle de son voyage dans un mail du 19 juillet (en anglais seulement) / Here’s how he talks about his journey in an email dated July 19:

    My girlfriend and I only spent two weeks in Iceland. We hired an off-roader and drove all the way around the island - sleeping on a mattress in the back and cooking eccentrically on two little stoves. We did 1800 miles. Cost us more in petrol than our return flights. We both came back with sixteen films to develop and scan. We had a great time. Initially I was disappointed with the photographs, but i’m starting to warm to some of them… For some reason when I go on holiday I think I’m going to suddenly and miraculously change into Ansel Adams and take beautiful landscapes from the top of my car. Of course, the reality is that I am not a landscape photographer with a darkroom, but am still shooting with the same rangefinder and getting shitty scans made at a high street store. It is strange how I write so much about photography and the principles; how we see what we need to see and work hard to refine this necessity, and how it is all about patience and connection with the narrative - but still get tripped up by two weeks away. For the rest of the time I live on a small farm outside of Liverpool, and most of my work is just spent walking the fields around my house. It is the routine / familiarity that I always thought made my work interesting - that you can start to build up the layers of understanding and describe these magical little moments in even the dullest landscapes. I have no idea why I put this pressure on myself to justify the distance flown and the money spent. It still takes me a while to realise that even in the most beautiful landscape, I still default to what I recognise. Taking pictures of Jökulsárlón was the tipping point. Jostling with a beach-full of digital photographers perched over every iceberg with their expensive tripods looking for the perfect slow exposure of waves crashing. I felt a responsibility to be more than a tourist - but my pictures of ice weren’t that special, and conveyed nothing of the magic of the spectacle. I think sometimes we are all guilty of using the camera as a surrogate for the memory. We become distracted by, or dictated too, by this small device in our hand. The irony is for years I’ve written about only being present in the space, and letting the camera become no more than a mirror to the subject - yet the abbreviated nature of a holiday makes us panic and start worrying about what the picture will look like. The reality is that I would probably need a month on the beach to understand the light, the ice, the subtleties of both - and thirty minutes on a crowded beach left me feeling sick and slightly lost. Anyway, I dropped the tourist maps in the bin and quickly drew a line under those kinds of shots. Sure enough on the way back to the car I took a beautiful shot of a puddle in the mud. From this point we just drove all the dead-end roads and explored the quiet towns; the factories, industrial estates and workshops. it is not like the UK where we are constantly followed by security cameras and guards and questioned about our reasons for being there - these places are just empty, and if you happen across someone, they just smile. One day we pulled off the road into a junk yard - a thousand cars rotting in a field backdropped by snow capped mountains - the owner let us walk around for the afternoon, open doors, crawl inside. I found it ironic that I didn’t get a decent shot of any icebergs, but the smashed windscreens made a beautiful alternative. The working Icelanders also appear to enjoy arranging their materials and I became fascinated by this ordered kind of random; things stacked on pallet boards or resting against walls. People familiar with my work know I enjoy finding patterns/logic in what appears chaotic, so it became interesting to try and find an overlap in something that had been clearly, albeit subconsciously, designed by some else - like trying to write a poem from a conversation you’d overheard.”

    Paul Garcia

     

  13. selektormagazine:

    Erik Lovold

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    Photographers A-Z

    Selektor Magazine

    Thanks for featuring my work, Loïc!

     


  14. puresoftmetal said: really nice work Erik! / greetings Kuba Ryniewicz

    Thanks dude, right back at ya. That twin thumbs shot is one of the most memorable pictures I’ve seen this year.

     

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