Eugene Atget’s photograph of conical shrubs in Saint Cloud provides the visual resource for a discussion of how careful camera placement can affect a photograph.
Saint Cloud, 1921
Photograph by Eugene Atget
A great resource on Atget on Artsy
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With a photograph of pecore (sheep) as an example, Camera Position #5 examines the way movement and time affect a photographic image. In many ways, every photograph is about the past and about the passage of time.
Pecore, Tuscany, 1994
Photograph by Jeff Curto
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Using a photograph of Venice, Camera Position #4 explores the idea of how sometimes what you think you want in a photograph isn’t the most interesting thing there. Sometimes the subject is right in front of you; you just have to be patient enough to find it.
Calle del Forno, Venice, 1990
Photograph by Jeff Curto
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Camera Position #3 features a discussion about one of my all-time favorite photographs by one of my all-time favorite photographers, Paul Caponigro. The photograph, “Two Leaves, Brewster, NY, 1963” is discussed alongside some images that were made at the same time, giving us some sense of how a photographer finds and “works” a subject.
Two Leaves, Brewster, NY, 1963
Photograph by Paul Caponigro
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Camera Position #2 is about a photograph I made in 1997 of the Tempio di San Biagio, a beautiful Renaissance church just outside the walls of the Tuscan hilltown of Montepulciano. It’s all about the light and waiting for that light to be right.
Montepulciano, Tuscany, 1997
Photograph by Jeff Curto
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