I usually refer to the two types of photographers as hunters and gatherers. That way I don't have to deal with that fisherpersons nonesense.
Not photography-related, but when it came to writing, I always told my students that I saw two archetypical (academic) writers: Mozart and Beethoven. I think I got the idea somewhere else, but admit I forgot where or how exactly. Must have been years ago...The Mozart type just starts writing and brilliant prose spouts forth. The Beethoven sits down and makes many drafts, rearranges everything, goes through severe depression and ultimately comes up with a monumental work (which he can't hear himself, because he's gone deaf in the process). I also explained to them that the Mozarts were kind of rare and if you don't happen to be one, all you can do is try to be a decent Beethoven.
It's an extremely tricky and unscientific taxonomy, of course, but I always found it kind of funny.
I see simularities with the German grammar.Knowest thou not that
much closer to field with a useful concept (of community of practice)shiny canvases flooded with black – or what he described as outrenoir or “beyond black”. With specially prepared brushes, palette knives and domestic implements, Soulages created complex textures, combining areas of smoothness and roughness and digging deep lines into the thick, layered paint.
For Soulages the tactile values in his paintings, as well as his related abstract bronze reliefs, were not as important as the ways in which the surfaces absorbed or reflected light. ...for him noir was not merely an accessory. He told the story that as a child of six he was found drawing thick lines with a brush and black ink. When asked what he was making, he replied: “Snow.”
Pierre Soulages obituary
French abstract painter who expressed a fascination with black in works popular with collectors and public alikewww.theguardian.com
I am regularly reminded that interesting people solve interesting matters by first addressing what interests them.In his work, Aaron Siskind explores the importance of friendship between individuals as well as the larger concept of communication within the artistic community.
As a result of his personal friendship with and aesthetic influence from Franz Kline, Siskind uses media such as broken walls and flaking plaster to achieve similar effects on film to those Kline achieved in paint.
https://smartmuseum.uchicago.edu/ab...hs-by-aaron-siskind-in-homage-to-franz-kline/
And that's why it's so important to learn about each others' processes, it's enriching. When you look and try to understand someone's work, you open a window into a new world.I am regularly reminded that interesting people solve interesting matters by first addressing what interests them.
I am regularly reminded that interesting people solve interesting matters by first addressing what interests them.
Not photography-related, but when it came to writing, I always told my students that I saw two archetypical (academic) writers: Mozart and Beethoven. I think I got the idea somewhere else, but admit I forgot where or how exactly. Must have been years ago...The Mozart type just starts writing and brilliant prose spouts forth. The Beethoven sits down and makes many drafts, rearranges everything, goes through severe depression and ultimately comes up with a monumental work (which he can't hear himself, because he's gone deaf in the process). I also explained to them that the Mozarts were kind of rare and if you don't happen to be one, all you can do is try to be a decent Beethoven.
It's an extremely tricky and unscientific taxonomy, of course, but I always found it kind of funny.
Another way of looking at genius is the quick and the slow. The quick rise out of the crowd like a firework of unthinkable brilliance, while the slow gather experience, craft, and meaning...perhaps not reconized widely in their lifetime. Both are equally important, though the quick might grab the attention.
That gives me some hope...
Another way of looking at genius is the quick and the slow. The quick rise out of the crowd like a firework of unthinkable brilliance, while the slow gather experience, craft, and meaning...perhaps not reconized widely in their lifetime. Both are equally important, though the quick might grab the attention.
That gives me some hope...
What a lovely way to put it. I often think in terms of looking for and catching the right light. The way you put it speaks of observing and working with, instead.Above 90% of my photographing is wandering, seeing what the light will present to my attention.
I bet most of us use a mix of all of them at different times. How do things get messy in the darkroom? Where is the conflict?
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