1. johngoldsmith:

    Heaven is a Place

  2. shihlun:

    William Klein, Tokyo.

    (Source: gouldbookbinder)

  3. cmov:

    Masahisa Fukase, The Solitude of Ravens, 1975/1976

    this series is amazing

    (Source: the-night-picture-collector, via thisismizhalle)

  4. conscientious:


    I just got my hands on two books, Going Home and Ash, by the Chinese photographer Muge. I had written about his work a few years ago based on images I saw online, but this is the first time I have seen his books. Both books were made in 2013 and they work as a pair. For Going Home, Muge photographed the route back along the Yangtze river to his hometown of Chongqing in the aftermath of the construction of the Three Gorges Dam. The book is made up primarily of portraits within landscapes: muted images invested with a palpable sense of fear for the future that is woven into the nostalgia of Muge’s return home. Ash is the more poetic of the two books, a series of loose plates of still lives and interiors that share the same dusty tonality of the former book. For Ash, Muge turned inwards, away from the portrait and the landscape, combining images in order to explore a specific atmosphere and emotion. Muge’s use of the square format at times reminds me of the Japanese photographer Issei Suda and, although he is still young (b. 1979), he seems to have more affinities with this older generation of photographers than with much of contemporary photography. His two books are great examples of the fact that, even today, things can still happen by simply taking a camera and going out into the world. 

    Right: “even today, things can still happen by simply taking a camera and going out into the world.”

  6. streetzen:

    Los Angeles, Ca 2013

  7. johngoldsmith:

    Symak (Vancouver, Canada)

  9. mpdrolet:

    Three points of light, Atlanta, 1979

    Lucinda Bunnen

  10. zdp-189:

    How to hack DX Encoding to make a 400ASA film can tell the camera that it is rated 1600ASA or 3200ASA: Just take a knife or a pair of scissors and scrape the black paint off the appropriate square in the top row. See the pictures above. Note that you have to remove one square of paint for 1600ASA, but two for 3200.

    How it works: DX coding is a system to allow cameras so equipped to read the film speed and other information from a 135 (35mm) film canister. The left hand row as shown above is the common contact and the conductivity of the other squares give the data. The top of the two rows of DX coding tells the camera the film speed. By if you don’t like the code, just adjust it by altering the surface conductivity of the squares.

    Why?: Not all cameras have a way to override the automatic DX setting, making it hard to push film or re-load the canister with faster film than the original factory load.

    Bonus: If you take out the last square as well, technically you can re-code it up to 5000ASA, but not all cameras can read this last digit and would just read it as 3200ASA and in any case, you may not get good results pushing film as far as 2 2/3 stops.

    Tip: If you recover the squares with sellotape, a sticker, or nail varnish (anything non-conductive) then you restore the coding. If you cover the common contacts, the camera will assume the can has no coding and will default to (usually) 100ASA.

    BOSS LEVEL: Recover the squares with tape, mark the relevant setting and set the film speed you want in the street when you load the film!

    Text and images copyright Dan K. All rights reserved, but go ahead and reblog on tumblr with attribution.

    (via japancamerahunter)

  11. 6th Arrondissement, Paris, 2013

    Callan Tham


  12. Untitled — Callan



    CNY Carnival, Malaysia, 2014

    Callan Tham

  13. dirtyharrry:

    untitled on Flickr.

  14. Nephews — Nilai, Malaysia, 2014

    Callan Tham