Mar 30 2006
It took Edward Weston 29 prior attempts to get to the point where he made his well-known “Pepper #30″ photograph. Musicians have to practice their scales, and so do photographers, trying a variety of attempts at conveying the essence of their subjects before hitting on the one that works the best. Weston’s strategy of looking […]
Mar 23 2006
Photographers have to be aware of the fact that viewers of their images can’t know the whole story of how a photograph came to be. The image has to rely on its own visual authority to get the message across. Using this photograph of Sant’ Antimo, a 12th Century Romanesque abbey in rural Tuscany, I […]
Mar 15 2006
The idea you want to communicate in a photograph is in direct relation to the way in which you choose to make that photograph. A photograph of Bernini’s beautiful Baroque fountain, situated in front of the Pantheon, is used to examine how composition and idea play off of one another.
Fontana, Piazza della Rotunda, Roma, 1990
Photograph […]
Mar 10 2006
Paul Strand’s masterful 1953 portrait “The Family” acts as a backdrop for some thoughts on how interaction between the photographer and subject and among the subjects themselves creates visual and emotional interest in a photograph.
The Family, Luzzara, Italy, 1953
Photograph by Paul Strand
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Mar 03 2006
Ultimately, a photograph comes down to a common element: Light. Using two photographs of a vineyard, this podcast explores the quality, direction and visual impact of light.
Vineyard, Umbria, 2001
Photographs by Jeff Curto
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