Cameras have tendencies. When I switch I’m unused to the new camera’s pull and I’m dragged its boring extreme. The Leica is fast and loose; its boring extreme is pointless black and white hip-shots of strangers in a street. The Great Wall is slow and deliberate; it’s boring extreme is the tripod, carefully aligned pictures of nothing much. It takes time with a camera to feel the direction of its flow. Only then I can turn against it and take my own pictures.
Just a note to say I am selling some cameras I don’t use any more. There’s five up there so far, and I’ll be putting some more up over the next few weeks. They all work, I’m happy to post internationally, and I’m happy to answer questions about them.
Also, if you want to try some shit out, I’m happy to chat about cameras and ebay and whatever. Hit up my ask box, or email me email@example.com.
“Therefore, be disciplined in your life. Go to sleep punctually at night, get up at the same time every day, eat at a regular hour, go to your work at the right time. Speak only as much as is absolutely necessary. Eat only what you need to sustain life; do not overload your stomach. Do everything in moderation. Do not become the victim of addiction. Even if your pleasures are harmless, have the detachment not to need them all the time. This is the kind of life a yogi should lead.”—Swami Muktananda (via thebluesteye and granolapath)
“For a little while I was exhausted. Tumblr, Facebook, Flickr and so on… I felt like I was drowning in images. As a consequence, even work outside of that digital stream—the work I was seeing in books and exhibitions—started looking all of the same. More important, my own pictures started feeling the same. I was burned out. So I started experimenting. I made little videos and used disposable cameras. I played.”—Alec Soth
“It should be pointed out that Winogrand scorned technical effects, including wide-angle effects, and that he abandoned his attempts to use the extremely wide-angle 21mm lens because he could not control or conceal its attention-getting mannerisms. He said (repeatedly) that there was no special way that a photograph should look, and he could not abide a lens that made photographs look a special way.”—John Szarkowski, on Garry Winogrand
“I’d rather put 5 random pics together that say that what I wanna say rather use 5 masterpieces that have no spatial or mental relation with each other. This is probably why there is so much random shit on my portfolio.”—Kenji Onglao
“Since I use nice films I just can’t go back to expired cheap shits. If you expect to have such a brilliant accident with those, just be more experimental with good quality of films and lights, same result but better texture.”—Hasisi Park
“I don’t look at as much photography as I maybe should. For some reason it makes me anxious. I don’t want to catch myself shooting like someone else. There is a balance between being influenced by something and imitating it. I just want it to come naturally, without thinking about it, like a breath.”—Elizabeth Weinberg
“Sometimes I am thinking as I shoot, but the best photos are brought about when I am not thinking about anything—when my mind is empty of thought. When I am intently concentrated, I feel nothing of myself.”—Rinko Kawauchi
“Why don’t we understand the value of making personal photographs? A clever concept might lead to success in the art world, but, by hiding behind ironic detachment, we miss an opportunity for authentic experience.”—Noah Beil
“A lot of my past work was the photographic equivalent of sleeping around, of trying out different things. Those projects helped educate me, but I could never go back and do any of those any more.”—Hin Chua