Parking – By Dick Snaterse

23 May

I am a Dutch photographer and like to explore urban cities, my own hometown Rotterdam, other Dutch towns but also a few times a year cities like Singapore, Kuala Lumpur and Antwerp. It is fascinating to see how cities work, transportation, living, housing, suburbs, relaxation, urban planning, public transport, urban construction, parking and so on. Especially I am interested in the urban city landscape, the beauty of nowhere places, the banal, the ordinary things. Places everybody use and pass by without seeing them. My explorations I do by foot, I walk early in the morning or late in the afternoon, just after sunrise or around sunset, away from the beaten tracks, walk trough back alley’s, enter parkings, enter buildings, climb stairs to find interesting places and locations to photograph them in an objective way just as they are. I try to minimise the human figure in my photo’s because I want the focus on the ordinary place where everything you see is human altered, in that way the human hand is always present in my photography. In the composition of my photos I like to make use of lines, light, shadows and colors. I post-proces my photo’s in Lightroom, if necessary I do some alterations in color balance, contrast, highlights, shadows and sharpening. I like to photograph with a wide angle 17mm lens on my Canon camera or a small handy and light Leica.

I am inspired by the German ‘Dusseldorf School’ from Hilde and Bernd Becher and the American ‘New Topographics’ movement, especially photographers as Stephen Shore, Andreas Gursky, Thomas Struth, Thomas Ruff, Lewis Baltz, Robert Adams and Frank Gohlke. My travels and walkings brings me enough inspiration for photography projects, currently I am working on several projects: Parkings; Road signs; From above; Urban decay; Outlets, Construction, Urban topography and 500 metres.


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You can see more of my work on:

Pedestrian Photographs by Jack Toolin

10 May pedestrian_photo035

Pedestrian Photographs were made in the first years of living in San Francisco after moving from Pittsburgh, PA – this was the mid ‘80s. It’s commonly known that Pittsburgh is/was an industrial city – I grew up not far from the steel mills. What is less known is the quality of light in the area: it is often overcast, giving a softer light and sense of atmospheric perspective that attends humid weather. This is the cultural and photographic atmosphere that I grew up with and in which I began photographing.

Adjusting to the light in the San Francisco area was challenging as the light was brilliant and contrasty – no more pretending to be a landscape painter of the Northern Renaissance.:) I adopted the shadows as compositional elements and displayed the intensity of the light by turning the lens towards it instead of away. I discovered that if I used elements on the street to block the sun I could capture the brightly lit scene without getting glare. I was shooting with a Hasselblad C and a Mamiya C330 at the time.

As for content, I sought out the peripheral, industrial sectors of San Francisco and Oakland for my photography. My attachment to these areas stems from my Pittsburgh childhood and was encouraged by the photographs of Lee Friedlander, Lewis Baltz and the like. I was, and still am, drawn to these areas that are both heavily developed but largely overlooked … spaces that people pass through rather than reside in. In the ‘80s it was surprising that so much open space in a large city was available to wander around in, though a different type of wandering than what Golden Gate Park provided. Today these areas (SOMA, China Basin, Mission Bay, Mission District) have been largely transformed by technology businesses and condominiums.


William Real: Still Images of an Evolving Pittsburgh Landscape

31 Mar


The ever-changing man-altered urban and industrial landscape fascinates me, both visually and as a metaphor for impermanence and the passage of time. For this subject, Pittsburgh is a photographic paradise. I’m drawn to the remaining industrial architecture in all its decrepit glory, even more so because I know it will soon disappear. The faded and crumbling character of Pittsburgh’s marginal, impoverished neighborhoods also beguiles me. As dilapidated houses are razed or yield to nature, holes open up in the urban fabric, reversing decades of urban densification and creating a landscape of a more rural character. There is a frenetic building boom going on here, structures vanishing and materializing seemingly overnight; brick, rust and aluminum siding replaced by rubble, ditches, scraped earth and piles of dirt, then by scaffolding, construction equipment, steel, insulation, and Tyvek and eventually by uninspired modern architecture, obliterating the memory of what was once there.

In the midst of this upheaval, I also seek out everyday streets, corners and places that are perhaps insignificant and invisible to most of us–so ordinary and seemingly permanent that we overlook and take them for granted, until they start to disappear, and eventually, are forgotten.

While many of my subjects are concerned with inevitable deterioration and loss, I also find that within the camera frame, images of inherent beauty and dignity materialize as if by magic.

Lately my camera is the one I always have with me, a Samsung Galaxy smart phone. This little pocket machine’s images, with post-processing in the digital darkroom, are surprisingly satisfactory for their purpose. The fixed wide-angle lens perfectly suits my usual subjects. I have more fun and less anxiety shooting than I used to with more sophisticated cameras, lenses, and gear.

I’m on Flickr at

Guillaume R – Paris

Since my youth, I have ever been curious about the tags and the graffiti. Why, When, Who does it ?
Step by step I started to take street pictures like in a playground. I live in the suburbs of Paris  and as soon as possible I go and explore Paris and it’s suburban fringes, It’s an endlessly exciting game.
At first, I started watching graffiti but it opened my eyes to others interesting drawings. I’m in love with the dirty and broken city atmosphere .
   I look at  the « beautiful » in the places where you don’t want to live and I try to make sense. I was inspired by a lot of internet session , by people with whom I took pictures and photographers as Bruce Davidson or Marta Cooper.
I created a magazine “Vu dans la rue” (“View in the street”) you can see some online :

Ariane Coerper

13 Jan
I am a German photographer and discover the past few years the urban environment with the digital camera. Coming out of the painting I give my photos with editing a picturesque and often surreal touch.
Inspired me have the Italian painters of metaphysics as Sironi and De Chirico.
Graphic elements have a great attraction for me what you can see always in my work.
Often I see in banal and ugly buildings and industrial areas a certain beauty and i like to show it in color and sometimes also in black and white.
People can be seen as good as never in my photography, but does not mean that it will always remain so.
Various Canon and since 2015 a Fujifilm X-T1 is my equipement, also Photoshop CC and other software for editing.
My work in photo communities:
And my Homepage:

Empty Streets by Manfred Hofmann

15 Dec Lustadt (4)

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:

I show my work at Flickr:

And I edit a magazine:

Daniele Pilenga – I’m from Caravaggio

6 Dec

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:

Cyril Becquart – India

10 Oct

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

Cyril Becquart on Flickr

Thomas Willard

23 Sep Los Angeles

Rendered space:

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.


Photographic Formula:

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.

Time, incremental.

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.

City Focus: Düsseldorf by Andi Heuser

9 Aug

Bach Strasse

Bach Strasse

I just describe how I photograph – this means not so much the photographic technique but the search for images (which is more a kind of “non-search”) and the moment I decide to take a photo
(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


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