The Angel of the North.
Photograph by Justin Quinnell, taken over the course of three months using a pinhole camera made out of a beer can, of Anthony Gormley’s sculpture in Gateshead, England.
The parabola is the path of the Sun, with the highest peak being June 21.
via boingboing
via ettagirl
![—Nancy Rexroth, “Boys Flying”
Amesvilles, Ohio, 1976, gelatin silver print.
From her book Iowa (1977).
(via B)
What did I like about the [Diana] camera? It was the dream, the liquid dream of the images that I could make with it. I went somewhere with the camera, into my own private landscape, a real mental spot, of needing, of longing, and with a real love of the beautiful…..When I was photographing, it seemed that I was awake and dreaming at the same time. This connection was an actual fact.…
About image softness: Well, I can tell you that I made a whole lot of blurry, out of focus photographs with the Diana! But I was very fastidious in choosing which images to print. In my sub-mind, I was looking for what you might call “The Integrity of the Blur”. I had an unknown set of multiple rules regarding what to blur, and what not to blur ……I aimed to have the degradation/bluring of the image seem as though that was ACTUALLY how things looked, at the time: “My world is looking like this to me, and you are welcome to enter inside…..We are together in this”. The blur had to “work”- on several levels.
—Nancy Rexroth, interview by Blake Andrews, Feb 17, 2011.
Rexroth has been compared to Julia Margaret Cameron, a 19th century photographer who deliberately worked in soft focus as a means toward metaphorical portraiture. Cameron’s approach implicitly shunned the authority of photography as an empirical tool. Similarly, the Diana camera’s plastic lens and toy-like body almost mock the power of precisely calibrated lenses to render mimetic reality, softening the gaze into a kind of crystal ball perspective that is completely unlike that of, say, a Nikon 35mm SLR.
—Deborah Garwood, “My Own Private Iowa”, Dec 12, 2004.
via msodradek](http://25.media.tumblr.com/tumblr_lgtk3zVf6I1qar9rko1_400.jpg)
—Nancy Rexroth, “Boys Flying”
Amesvilles, Ohio, 1976, gelatin silver print.
From her book Iowa (1977).
(via B)
What did I like about the [Diana] camera? It was the dream, the liquid dream of the images that I could make with it. I went somewhere with the camera, into my own private landscape, a real mental spot, of needing, of longing, and with a real love of the beautiful…..When I was photographing, it seemed that I was awake and dreaming at the same time. This connection was an actual fact.…
About image softness: Well, I can tell you that I made a whole lot of blurry, out of focus photographs with the Diana! But I was very fastidious in choosing which images to print. In my sub-mind, I was looking for what you might call “The Integrity of the Blur”. I had an unknown set of multiple rules regarding what to blur, and what not to blur ……I aimed to have the degradation/bluring of the image seem as though that was ACTUALLY how things looked, at the time: “My world is looking like this to me, and you are welcome to enter inside…..We are together in this”. The blur had to “work”- on several levels.
—Nancy Rexroth, interview by Blake Andrews, Feb 17, 2011.
Rexroth has been compared to Julia Margaret Cameron, a 19th century photographer who deliberately worked in soft focus as a means toward metaphorical portraiture. Cameron’s approach implicitly shunned the authority of photography as an empirical tool. Similarly, the Diana camera’s plastic lens and toy-like body almost mock the power of precisely calibrated lenses to render mimetic reality, softening the gaze into a kind of crystal ball perspective that is completely unlike that of, say, a Nikon 35mm SLR.
—Deborah Garwood, “My Own Private Iowa”, Dec 12, 2004.
via msodradek
Motorcycle Sidecar-Boat, Ireland, 1925
via The Irish Times: Irish Photography: the early years :
“Seán Sexton is one of the world’s pre-eminent collectors of photography, and is driven by a desire to show Ireland’s past as it really was, not as history tells it.”
“I feel patience is a lost practice. The best way to answer why I prefer matchbox to digital photography is the element of surprise. You never know what you’re going to get!”
- Chris Orr
read more via The Art of The Pinhole Camera
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Veronica Bailey [+]
Woman in Art
Mercer Street by Todd Burris
