From one of the best photography blogs out there.
Sometimes you come across work you fall in love with, work that resonates with you in such a deep way, and you begin seeing the world through the lens and point of view of a great image maker. I have been a fan of Cig Harvey’s photographs from the moment I encountered her way of seeing. Cig is a visual painter, creating images that shimmer with color and gesture, that have the punctuation and staccato of red berries, purple finger nails, or a field of fireflies at night. She speaks to memory, to moments, to quiet and beauty, and never loses her connection to the natural world. Her work is a sensory experience, where you feel what she feels when she captured the dapple of summer sunlight on skin or the splash of water that is a color only our memories seem to hold.
Cig recently moved to Maine where she lives with husband and baby. She works as an editorial and fine art photographer and her work has been exhibited widely and is in the permanent collections of many major museums. She was a recent finalist for the prestigious BMW Prize at Paris Photo and recently had her first solo museum show at The Stenersen Museum in Oslo, Norway.
Candy-Colored Congo Richard Mosse’s three years of photography work in the Congo using discontinued infrared film is haunting, surreal and beautiful, and it’s currently on display at this year’s Venice Biennial and in a book due out this fall under the work’s title, The Enclave. Mosse is increasingly known for bringing the Cold War-era satellite film, […]
… To many in the business Wood is a true photographer and held in high regard. One that has dedicated his life to his art and has cut no corners nor bent to prevailing trends. He is often classified as a documentary photographer, but he tells me quite forcefully that is not the case. “I am not trying to document anything, I am asking a question. It is more about deciphering and transforming. You don’t call a poet, a documentary poet, because they write about life, so why a photographer?”
It is that exploration of the subject and what stimulated him to make a picture that is of such interest, a contest between the form and the content. “When the stuff is too journalistic and documentary then it is journalism, if it is too conceptual and arty then that is another thing, but where the two meet – that is interesting.” …
“You are after this intangible thing which is not a document. You can photograph the same face 50 times and 49 are not interesting, but one is and it goes to another place.
“I wanted to allow that time as a gestation period, each picture should be a discovery. It is about asking a question, you don’t know which are the great pictures just like that.”