Birthday party.


You may have noticed that I haven’t been posting much of my own work lately. It’s not because I’m feeling uninspired or anything like that. I’ve actually been taking (and making) a lot of pictures in recent months, but the subject matter hasn’t always been relevant to this blog. However, I’ve been holding back some pictures from a few photo shoots that I’m finally able to share, so this weekend I’ll be posting all original work. I hope you like it.

Writing from Photographs

"Taking photographs changes the way we experience the world, but reviewing them can change the way we remember the experience."

Casey N. Cep, via

Canon 35-350mm and 1.4x extender.

Goodnight moon.

Gridded off-camera flash.



An Instax WIDE back for Lomo cameras.

Print your photos.

Via Jonas Peterson:

Print your photos, my friends. Put them on walls, on fridges or in books, but just print them, ok? Every time you walk past that wall, you will remember that day and smile.

The Sex Pistols, London by Peter Vernon.

Hear the story behind this iconic photo here.

Selfish photographers.

Also known as “photographers.”

Via Conscientious Photography:

Photography’s ultimate cruelty is that you cannot take a picture without involving an act of selfishness, however miniscule it might end up being. Portraiture, the depiction of another person, makes this overabundantly clear. You point your camera at another person, with or without their consent, and you want something: A picture. There is a lot of talk about how portraiture works, and I have contributed to that at various times. However, the aspect of selfishness is usually being swept underneath the table. What photographer, after all, trying to sell her or his work to an audience desired to be fawning afterwards, has the honesty to say “I don’t want to take someone’s picture, I want to take my picture of that other person”? You don’t hear this very much. Instead, there is a lot of talk of a collaboration, of the model giving, and the photographer taking (this is as far as people will go). And possibly, there is some collaboration going on. But who cares? What makes a good portrait a good portrait is not the amount of collaboration, it is a photographer’s willingness to take what s/he wants. If that sounds too Nietzsche to you, then, well, maybe you don’t want to take portraits.

Read the whole thing. Please.

I’ll probably post some sort of response (with some obligatory Ayn Rand quote) eventually, but for now, I’m just letting the essay resonate in my head for a while.