1. Haji Lane, Singapore, 2014

     

  2. "One of the things that happens with exhibitions, at least with the one who made the photos, is that after looking at the same twenty images over two weeks you really figure out which way you might be headed next."
    — 

    John Sypal

    The same goes for any “finalised” show of work, such as zines (my preferred way of showing work). I think it was John Gossage who said to never throw away old work, because they guide your new work. I’m a big believer in that.

     
  3.  
  4. Montmartre, Paris, 2013

    Callan Tham

     
  5. mpdrolet:

    New York City, 1980

    Lee Friedlander

     
  6.  
  7. shihlun:

    Issei Suda

    (Source: blueblackdream)

     
  8.  
  9. Haji Lane, Singapore, 2014

    Callan Tham

     
  10. shihlun:

    Nobuyoshi Araki, Satchin, 1965.

     
  11. johngoldsmith:

    Heaven is a Place

     
  12. shihlun:

    William Klein, Tokyo.

    (Source: gouldbookbinder)

     
  13. cmov:

    Masahisa Fukase, The Solitude of Ravens, 1975/1976

    this series is amazing

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

     
  14. conscientious:

    eyecurious:

    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.”

     
  15.