Chasing LightWelcome. This is where I share my work and also the work of others, those that inspire me, the weird, the great, the unusual.
It is a goddamn marvel this life. Take a look.
Morocco | Mehfiz
Stumbled across, and almost into, a group of young men in Mehfiz, somewhat near Khamlia in the Sahara. These guys were at an open crevasse, mining for coal and quartz by hand. They did have some heavy machinery near by but almost all of their work was performed manually. Parts of the opening in the ground led to a pitch black emptiness.
André Kertész | The Place de la Concorde , Paris, 1928
Look at the atmosphere, the reflection. Why did I do it this way? Instinct. I have no other explanation. The subject offered itself to me and I took advantage.
Brooklyn | Joaanna, Red Hook
For portrait and model sessions, I normally shoot Leica first, then I will bring out the Hasselbad to switch things up.
I am super fast with the Leica and with the aspect ratio, it lends itself more to environmental portraits, including more of the background, more of the setting and environment. The Leica is like an extension of me.
Bruce Davidson | East 100th Street
My true love is silver gelatin. My history in photography, which spans over fifty years, it is all basically silver gelatin. In my imagination there’s nothing more beautiful than a beautifully printed 11×14 print on good paper.
Saint Petersburg | Vi, Chaise, Shirt IX
William Eggleston | Memphis (Tricycle)
A picture is what it is and I’ve never noticed that it helps to talk about them, or answer specific questions about them, much less volunteer information in words.
Kraków | The Sculptor
Through my fixer, I met this artist and spent some time with him in his studio. Forget his name.
It was great to see his process, see his work. I didn’t make the best of the opportunity, the shots are pretty good, but not at a level I hoped. I just didn’t see it, those shots that spring out, those moments that leap out only when the camera is up, the lens is focused and waiting.
Philip Jones Griffiths | England, 1964
Even if not a single picture is never published, they exist.
Belgrade | A Grand Lady
I always say that if I have a problem with my gear and all my film comes back blank, that it does not really matter. The point of all of this is the process, the journey.
The resulting film and the prints is a gift and a bonus.
Roy de Carava | “El” Train
Kyiv | Vita, Bed
Jean Gaumy | José Saramago
The painter paints, the musician makes music, the novelist writes novels.
Saint Petersburg | Vi, Chaise X
Marc Riboud | Chartres, France 1953
The idea of photography as evidence is pure bullshit.
Mary Ellen Mark | Oaxaca Workshop Review, Pt 4
These were images that did not make the final cut by Mary Ellen. These were chosen during my daily critique with her, made into work prints, and part of the work presented to the other students on the final day.
Frédéric Huijbregts | Paris, 1978
Mary Ellen Mark | Oaxaca Workshop Review, Pt 3
These were my images that Mary Ellen chose to be part of the final review. I am proud of them but there were also others that I am immensely fond of that she did not choose
André Kertész | Chez Mondrian
I went to his studio and instinctively tried to capture in my photographs the spirit of his paintings. He simplified, simplified, simplified.
Mary Ellen Mark | Oaxaca Workshop Review, Pt 2
The first day of the workshop is devoted to reviewing each student’s work in front of the entire class. There are a lot of students and while everyone wished for more one on one time with Mary Ellen, her critiques are incisive and cutting.
Leica Sighting | Kong: Skull Island
Brie Larson can be seen using an M3 with a 35 Summaron with removable goggles and an MC meter. A very sharp observer noticed that the lens f3.5 lens has a serial number 1488,xxx, which is correct for the Summaron.