Inspired me have the Italian painters of metaphysics as Sironi and De Chirico.
People can be seen as good as never in my photography, but does not mean that it will always remain so.
Light and shadow impress me very much. I created many images of small villages that often seem deserted, because I’m on the road at midday.
I want to show this rural life, describe how people live in villages that only have a bus every hours or two. The solitude.. yes, that’s my subject, also village life and beyond, you can see this in my landscapes and other styles of photography I practice.
I take pictures with Pentax cameras, initially a K10 and now a K5 and almost always with fixed focal lengths, usually 15mm or 21mm and periodically 70mm. I use Lightroom and Nik software to post process.
I have a website: http://www.lumaho.de/ I show my work at Flickr: https://www.flickr.com/photos/manfredhofmann/ And I edit a magazine: https://issuu.com/lumaho
Born and grow up in the province forces you to some renunciations
but trains the eye to a slower and ritual observation.
Places don’t seem to change and spaces are layered with silent references
so when everything seems empty you can find the real subject.
Time leaves traces to look for and marks to be registered
because every time you see a place you could remember the past time and all your memories about.
I’m Daniele Pilenga and I’m from Caravaggio.
You can see more of my pictures here:
I use digital or analog camera. But for this ongoing project, I will use only film.
I will return in India for the third time to continue it.
It’s hard to describe what I want to do in my pictures, perhaps you can feel it better than me, but i try to make a kind of ‘slow’ street photography, not spectacular, but questioning individual… In fact, that is what I try, not sure that I manage.
Technically, I can see I keep a distance with my subject, and use 50mm (or 80mm in medium format), to have some neutrality, and no effect in picture.
Using film, is for my as interesting for the particularity of the analog result on picture than for the way of making picture. Less pictures, slowly way of making them, not distract by looking the result on the camera, and the doubt of the succeeded picture force me to continue searching.
But the return, discovering negatives can be a hard depressive moment
This ongoing series of images is an inquiry into open space.
In the tightly constricted environments of the urban/industrial landscape, open space is almost an afterthought. Trapped between walls and fences, space is a limited commodity, its purpose primarily utilitarian. “Rendered,” as if extracted from the landscape.
In broad daylight the accoutrements of these spaces declare themselves as painted descriptions, delineations and formations, all intended to maintain order.
Two-dimensional surfaces dominate.
Priorities are revealed.
Notice the unnoticed.
It goes beyond place. It’s not about your hardware. It’s about perception and spontaneity in the unfolding moment.
The quality of light, first and foremost.
Space or the lack thereof.
Composition, arrangements within the frame. Noticed ambiguities, coordinated resonance.
It all adds up.
A few words about myself:
As an inner-city kid growing up on the edge of a large industrial section near downtown Los Angeles the idea of open space didn’t really enter my mind. Tarmac covered my school playground and concrete sequestered the front lawn (even the adjacent Los Angeles “River” was lined with a thick coat of concrete). As with most of the kids in my neighborhood, this was taken for granted as an environmental fact of life.
It wasn’t until we went on a family camping trip to the eastern part of California that I realized that other, more expansive, realities existed. I have been attempting to come to terms with that early experience ever since, partly through photography.
My immersion into the photographic arts began with the purchase of my first camera, a “Hanimex Praktica, Nova 1b,” in 1970. Later I graduated to a 2.8 Rolleiflex and realized that true quality could be achieved with a medium format negative. In 2004 I took the leap to digital imagery.
A few college classes here, compared notes there. Friends, gallery visits, museum openings, books.
It all adds up.
(I shoot not so many frames because I use a 6×7 film camera).
I don’t very much follow an idea or concept instead I just take my camera with me every time I go out.
I wait until I “see an image”. This is not a result of thinking, I just see an image, that’s all. Then I stop, take my camera out and try to find the point from where I can capture this image.
I prefer a very objective style, so I mostly point the camera head-on to the scene. The rest is simple photographic technique like definining depth of sharpness and correct exposure time.
In some cases I visit special locations like the disused and abandoned factory which I photographed during the last few days. But there it’s the same: I go along and look everywhere until an image catches my eye
My name is Paul Rosenstein, and I got my first camera when I was 13. I’ve been shooting on and off ever since. Apparently, that’s over twenty years now. I started focusing more on street photography about eight years ago, when I began taking rather close shots of interesting surfaces, street art, building siding, and the like. Over the years, I have found myself retreating from my subjects, favoring longer views, framing more thoughtful compositions, and attempting to capture the emptiness of spaces rather than the noise of the extreme abstraction. At least in part, I attribute my shifting vision to a possibly-pathological gear-restlessness. I am currently working with the following cameras: Mamiya RB67 Pro-S, Bronica ETRSi, YaschicaMat 124, and a Nikon F2 and an F3. I’ve always found that shooting different cameras and refreshing my gear bag occasionally helps drive creativity. In fact, I enjoy the entire process: acquiring new gear, cleaning it up a bit, installing batteries (if nec), loading the film, developing the film at home, hanging it in the bathroom to dry, scanning it in, and posting online. For me, this entire process—start to finish—is the making of a photograph, only the smallest part of which is the physical taking of it. So while making a photograph today tends to begin and end on the internet, and therefore demands a workflow that few of us could have imagined twenty years ago, I love it all the same, just as much as I did when I got that first Nikon two decades ago.
At least to me, the power of urban photography lies in its ability to re-present as aesthetically interesting the utterly familiar and otherwise mundane. Where many see only utility, the urban photographer sees beauty, and if he is an able photographer, he invites others to bear witness and unveils it for them. In fact, with his tripod, handheld meter, and cable release, his mere presence outside office buildings, boiler rooms, back alleys, and loading docks is iconoclastic; and this, long before the completion of the photograph. These are places we are not supposed to be, shooting subjects that are not supposed to be shot, finding the aesthetic where there is supposed to be only the instrumental. By its very nature, then, urban photography is irreverent. I find it to be a humble and elegant challenge to common sense. In fact, I am reminded of its power each time a bystander confronts me to ask What do I think I am doing? and What is it for? And, as anyone who does this sort of photographic work will surely attest, this means I am reminded constantly. I seek only to contribute in some small way to the universe of urban photography established already by far better artists than I—many of whom are featured in the posts below.
My personal site is hosted at Cargo Collective
See also my Flickr feed
Some of my stuff is for sale at Crated
Pixdar on the footsteps of the past
“We spend all day in front, often without even lend a look … And yet, if it lingers a few moments, we take the time to look a little closer, these small quaint shops take us back, as the song of Charles Aznavour in “a time that those under 20 years can not know.”
Totally abandoned, awaiting demolition or transformed into housing, these old shops, signs and storefronts are in France as elsewhere, precious witnesses of an era. Faced with these shopping centers without any charm, which are mushrooming, it seems unimaginable to let them disappear without immortalize them. “
Flickr (https: / /www.flickr.com/photos/photimages/).