The Burning House— before you start, it’s not a consumerist thing. Yes, it’s an ode to things, but it’s also an engaging photographic project. Sure, there’s a certain body of people represented here, mostly creatives; there’s a surfeit of retro (read:hip) and more modern camera tech, iPhones and laptops, moleskine journals, tablets and so on. And yes, it’d be an even more powerful social document if it sampled a from wider pool. Regardless, it’s certainly worth a follow.
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The Burning House— before you start, it’s not a consumerist thing. Yes, it’s an ode to things, but it’s also an engaging photographic project. Sure, there’s a certain body of people represented here, mostly creatives; there’s a surfeit of retro (read:hip) and more modern camera tech, iPhones and laptops, moleskine journals, tablets and so on. And yes, it’d be an even more powerful social document if it sampled a from wider pool. Regardless, it’s certainly worth a follow.

Source: theburninghouse.com

I have been taking photographs for 30 years now,” says Graham, a softly spoken Englishman who has lived in New York since 2002, “and it has steadily become less important to me that the photographs are about something in the most obvious way. I am interested in more elusive and nebulous subject matter. The photography I most respect pulls something out of the ether of nothingness… you can’t sum up the results in a single line. In a way, ‘a shimmer of possibility’ is really about these nothing moments in life.

Paul Graham: ‘The photography I most respect pulls something out of the ether’ | Art and design | The Observer (via photographsonthebrain)

At the intersection between photography and poetics… 

(via photographsonthebrain)

TLRs have a lot of soul to them; they’re ugly, cantankerous little lightboxes. People always kind of look at you funny when you’re carrying one around… but that’s a perfect in for a conversation, and then maybe some impromptu street portraits. I think SLRs are a little forward — that is, people know you’re pointing it at them, and that can sometimes be a turn off and can raise some hostilities. With TLRs, you just look a bit confused, as if the thing in your hands is some sort of Rubik’s Cube. Plus, women love a man who touts a rugged, double-barreled photo machine. Just ask my wife. At least, I think that’s why she’s with me.

What is the main camera you shoot with, and any others you use? - the myth of fingerprints

I picked up a Yashica 124G last Christmas after an unhealthy amount of research (aka fawning/obsessing over vintage TLRs) - but nothing I read prepared me for the responses I received to the camera on the street. On the one hand, there’s none of the “response to threat” reaction that you sometimes get when you hoist an SLR to eye level and point it in someone’s direction. On the other hand, there’s a degree of fascination that’s somewhat surprising. To be fair, unless you’re a camera geek in this digital age, TLRs just don’t look like cameras. To the average person in the street, a camera either looks like a point-and-shoot or an SLR. Period. The twin-lensed box they see me with obviously has something to do with the work of capturing images, but it might as well be steam-punk from an alternate reality to most. Just another reminder that, while our realities may overlap, we live in different worlds. 

One of the more memorable questions I’ve been asked: “how many megapixels does it have?”

Source: boyghost

I don’t really post images on here much these days (unless they’re my own) - I save that for one of my other blogs. This one by Joshua at thelongbrake.com broke through my in-built content filter. Head over to Joshua’s site for a series of images depicting the disassembly and repurposing of an old Goldstar television. Because who needs a screen when the content’s that good?
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I don’t really post images on here much these days (unless they’re my own) - I save that for one of my other blogs. This one by Joshua at thelongbrake.com broke through my in-built content filter. Head over to Joshua’s site for a series of images depicting the disassembly and repurposing of an old Goldstar television. Because who needs a screen when the content’s that good?

Source: thelongbrake.com

The relentless progress of digital photography places an enormous psychological pressure on the modern photographer to upgrade his equipment constantly. Those of us still shooting film, however, neatly sidestep this insanity by using cameras that were out of date decades ago and are therefore in no need of upgrading. We learn to work with their foibles and failings, and eventually to love them; they’re not going to be fixed in subsequent generations so we have to make the most of it, and we don’t yearn insatiably for every new feature. We are so removed from the iteration of technology, that the arrival of the next greatest gadget from Canon or Nikon — and the next, and the next, and the next — means no more to us than waves crashing on a distant beach: we hear the rumbles, one after the other, and quietly go about our business.

The Photon Fantastic (Gear Acquisition Syndrome)

Yes. Except, as Nathan goes on to say, it’s so easy to fall into collecting old film cameras, once you get started. For someone who’s not a photographer by trade, I’ve already accumulated a tidy little collection of 35mm cameras - though with the acquisition of the Yashica, everything else is gathering dust. I shoot Canon (500D), Yashica (124G) and iPhone. I hereby pledge to stop scanning Ebay for other alternatives that I don’t really need. 

Source: photonfantastic