A view of the Georgia State Capitol building from the northwest side on Pryor St. near Underground Atlanta.

A view of the Georgia State Capitol building from the east side on Memorial Drive near Grant St.

It’s not about this one second to make the picture, it’s about waiting for days and days and days in freezing cold to get this one moment when the sun is there. So that’s the work of the artist, is waiting.

A view of the Georgia State Capitol building from the east side between Memorial Drive and Martin Luther King Jr. Drive.

…it is not a question of differentiating between a mirror and a window upon the world — the successful photograph by the serious quiet photographer is most likely to be a complicated amalgam of mirror and window, an ineffable struggle between subjectivity and objectivity. Like anyone else wrestling with this tricky medium, the quiet photographer is totally assured of the fact that a “simple,” “straightforward” act of recording is anything but.

Without Author or Art: The “Quiet” Photograph

The Pleasures of Good Photographs, Essays by Gerry Badger

Framed photo from new project titled Proctor Creek. A partnership with Trust for Public Land. More soon.

At the end of the day, a photobook about any place tells us a lot about its maker and, possibly, something about the location. Approached this way, photobooks have something to offer that tourist brochures lack: they’re an invitation to get challenged, instead of having one’s expectations confirmed. This then makes the creation of a photobook about a place a lot harder than it would seem, in particular if the place in question comes with a large number of preconceptions on the audience’s part.
Jörg M. Colberg’s review of Catherine Leutenegger’s – Kodak City via http://cphmag.com/photobooks-w282014/

Corinne rolling in her grave. Bonaventure Cemetery. Savannah, GA.

Looking right during Trayvon Martin rally. Atlanta, GA. 11:52 AM

Looking left during Trayvon Martin rally. Atlanta, GA. 11:50 AM

The thing about editing is that you often have to pull your own memories of the situation out of the picture to be able to look at the photographs as images. Because nobody else is going to have your memories… Often an editor thinks for the audience in some way, by looking at the work with fresh eyes. Because you have no idea of how your work is going to be read.

Bankhead Asphalt Artifacts. Proctor Creek. Atlanta, GA.

When we abandon our exurbs and distant suburbs – something I see as inevitable — if we leave behind the poorest and most disadvantaged, we won’t be leaving them in functioning neighborhoods. We’ll be leaving them in total isolation. Places without grocery stores that can be walked to. Places without transportation. If the 1960’s inner city was inhumane, this will be far, far worse.

Strong Towns Blog | April 28, 2014, Charles Marohn (via atlurbanist)

Feeding my thoughts for a future project…

In this photograph I leave a little more room for interpretation than in some of my other photos. It made me think about getting past what is immediately in front of me and looking for deeper meaning from photographs.

Hot light, half-made girls. Atlanta, GA.

Next page Something went wrong, try loading again? Loading more posts