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Enter the Darkroom


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Names at the Exhibition Photog 05/03/2020 (Sun) 05:18:16 No.14
Let's look into some of the famous, and not so famous, photographers' works to get some inspiration, ideas or entertainment by looking at some of their pictures in small dumps. Also serves as a way to force myself into enjoying this hobby without a camera. Anything goes as long as you like it enough to expose it, in my case i will post some of them once in a while in a constant format.
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I'm going to start, usually i will post 24 pix but sometimes with some dudes i will post 12, due to scarcity of available portfolio or because i probably only liked certain items a lot, maybe sometimes i will throw 50 but let's see. Issei Suda was a japanese dude born in Tokyo around 1940, a rough era for sure, he graduated from his local college's photography course at 22 and landed a steady job 5 years later. After a while he became a well-known freelancer photographer for popular magazines and later on became a university teacher at Osaka. He died in 2019 and my introduction to him was his obituary, he isn't that famous nor an avant garde pioneer but his style is very tasty for me, eerie and peaceful at times. He's often compared as a Daidō Moriyama copycat but this doesn't hold much water as he is at the very least a contemporary, not to say he started 2 to 3 years before; what is true is that Suda jumped into the Nobuyoshi Araki's S&M bandwagon in the late 80's. He also had a good chunk of work in color but i haven't found many of them and looking for photography book rips is like finding the necronomicon, most of the times you have to buy them... and they aren't any cheap, not to mention scanning them means busting the book open. His publishing style, from what i can hear for other sources, was his detailed descriptions of the shots or subjects which were mostly his actor/performer friends and local folk festivals, but very often he just took a walk around small neighborhoods and shot at things he liked... pretty simple state of affairs. He used a medium format camera so i guess he didn't walk that much to be fair. Last month a publisher released a book of Issei's work he had found while lurking around his office but couldn't send or catalogue due to his death, the house kept the deal and gathered some photos from his golden era (1970's to early 80's) so let's hope that one gets a look outside. Suda at least didn't go unnoticed and won several awards in life, including some prestigious ones like the Ken Domon award, yet his name isn't that much mentioned so here's to him.
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The Goat one seems to be famous as he was asked about it a couple of times. Story says he was walking down a road and saw a goat strapped and almost hanged from a tree, fighting frenetically for its life. Suda, being an asian, took his camera and started taking pictures. When asked if he helped the animal, he said he felt bad while shooting but that his original idea was trying to help him after the takes, but in the last photo (shown here) the goat in its last breaths cut the rope and after resting briefly slipped away into the darkness. Pretty dramatic because it didn't look that bad in the pic (he's clean after all) but a nice story anyways, the elephant image does reflect more drama to be honest but i don't know which book it is from, not to say if it got translated to begin with.
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Water sports and Koi fish First and last pics come from Sparrow Island, must be famous as i've seen it a couple of times and even in a Nintendo ad long time ago.
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And that's that, i don't recall which publication are the last 3 from but it's something about windowlicking and general shop fronts, pretty cool. There's supposedly also one in which he went around a downtown with a spy camera on his jacket and shot tons of stuff, but can't find many pics nor affirm they are from that book. Interesting guy, it does bring to my attention collecting those books must be a pain.
Super interesting thread, I'm loving his style, but I think some of his pictures are a bit too dark, but I adore most of them. It's really interesting to look at photography's past and see what photographers innovated or even just took really good pictures. I'm not a photographic history buff, but you tell their story and describe their pictures in the most interesting way. It's kinda like reading a personal journal about photography. Keep up the quality posting anon!
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>>25 >some of his pictures are a bit too dark The Japanese photographers, at least in their golden era (60's-70's) were very well known for their pretty intense chiaroscuro, although Suda went gnarly with it like in Pic 04, but in Pic 14 that effect made the water almost invisible making the Koi seem to be flying. >I'm not a photographic history buff Me neither but we are going to basically learn at the same time so worry not. Although i'm familiar with the general movements and eras i really don't know much, if anything at all, about the details and names. I was making some lists, mainly one for the japanese which i only know 4 or 5 guys, along with checking really quick some of their pictures to somewhat prioritize which fellas will come out first. And apart from the pretty basic obligatory names in the mainstream western scene i think we have material to make 4 or 5 of these threads, it's just a heap ton of info. But you can be confident we will be visually "initiated" by the end of the year. Post by post, made over every other day, will fill these up i'm sure it's not like there's many photos available in good quality anyways
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>>19 Here's a few more from Issei from his color days, which weren't many nor are they widely found in good quality, still he has many interesting shots from otherwise economical situations (read: shoot at random stuff in a hurry) I think they are from 2 publications, one about Taipei's streets and another about mundane everyday stuff, appropriately called Fragment of Everyday Life, a good example of compositional experiments along with situational/contrast visual comedy (softcore porn ads in the middle of a family neighborhood) #29 here i believe comes from the Taipei book, strongly reminds me of Christopher Doyle's work in Fallen Angels, which somewhat fits in timeline as the savant aussie worked briefly there in the mid-80's and the book was released in the same years (84-85) I have 2 posts on the pocket but i don't know how to fill them with enough text, one will be an exemption of the 12/25/50 pics rule of mine as i will easily surpass it. Just saying that because i didn't abandon the thread, just went to do other things and i got into something bigger than expected with our subjects.
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On this nice day i think it's time we started talking, here at the Exhibition, about one of the famous names we previously made reference about, and i assure you this guy did back up his claim to history. But before we do let's delve into other heavy-hitters of history, mostly pioneers, to somewhat understand his nonconformity, overall maverick spirit and what really made this old fellow so influential... along with tackling the obligatory beginnings of this hobby with early names of course.
The Auguste Bisson Brothers, Louis-Auguste (1826–1900) and Auguste-Rosalie (1814–1876), born in Paris, France, were learned sons of a heraldic/royalty painter called Louis-François and became celebrated photographers with a big shot studio in the city of light back in the "golden age" of photography were getting paid to explore cool places with a camera, along with having drinks with royalty and famous figures, was the vogue profession. Contemporaries, and at times it seems student/friends, of other notable protogs/artists like Nadar, Le Gray and Baldus, these dudes jumped into the money and history (also almost bankruptcy) due to their big chunky prints of detailed portraits and landscape exploration, specialties of Louis and Rosalie respectively, sponsored by the royals and free absynthe drinks of course.
They opened their cool studio around 1841 and were called around all the time, but the focus i wanted to bring was Rosalie's specific jobs commanded by Napoleon III since 1860 to survey some areas he was interested into for his big time restorations or simply to kick back at the sceneries; basically the boys were sent to explore cool places that sometimes were tough to reach, although all expenses paid, to get very technical images and present a report to the guy himself, all while at times Louis would stay in Paris getting all the clients. Ros used some kind of trickery i honestly don't know much, perhaps ultra-sensible techniques or very expensive lenses, to pull moderately fast exposures with somewhat high apertures to get enough details out of the landscapes or buildings said to get. First Nap 3 requested both to accompany him to Savoya, the picturesque historical alps region/country controversially dissolved/forcefully annexed by France in the Treaty of Turin (schemed by Nap 3 himself) along with Nissa, and divided nowadays between Italy's Piedmonte and Aosta Valley administrations, France's Alpes regions and Switzerland's Vaud and Valais cantons, sweetly divided by Lake Geneva in the middle. Then after checking their job the dude send Ros (and 25 groupies to carry his stuff) to register the trip of some of his explorers to the top of Mont Blanc, the alps' highest peak. Supposedly he's first guy to take pictures of the top of an important mountain, his technique and shots were acclaimed and showed the general public the nature of the realm's toughest places. Massive good boy points were seemingly earned by the Bisson Bros. in these trips, not to mention prestige, they would be thrown to more exotic/ready-to-invade places later on, including Egypt.
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In those days styles were certainly happening but nothing was settled, it was certainly an era of experimentation and the brothers pulled rich and detailed sceneries out of their technique, honestly haven't checked that much about landscape from those years but they are definitely one of the most famous examples if not the most in that regard, not to mention their architecture shots too.
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Soul-reaping was still a common joke around those days but many were skeptical or didn't have that much interest in this new fangled heliography thing, but Louis still achieved to convince, pull or simply be in the right place to get famous portraits, some from individuals who seem to have only taken one photo in their entire life spans: Frederic Chopin and Honore de Balzac. Sorry for the stock image in B-sack's portrait, seems the only decent quality version is that one.
The big prints talked about, 30x40cm, worked through with the Collodion Process and paired with their technique provided much detail as we have seen, they also at times (before Nap's jobs) explored a bit of Europe to get pics of interesting sights from other cities and sell them as big souvenirs, proving to be valuable architectural data after the events of WWI and even WWII. Seen here are the Guild House of the Free Boatmen in Belgium's Gand/Ghent and the Chateau de Chambord, a famous french palace but back-then an abandoned castle, unfinished and used previously as plenty of things except a castle or a palace. Same with Honore's photo, the best around is property of the stock overlords. Anyways, this way of work seemed to be having a contrasting battle against a popular format in those days called the carte de visite, roughly translated into Visitor's Card or Card of Visit, their purpose was to have a cool enough space to write things down like name, address, note section and at later dates even phone number. The other side had a bitching image of yourself or something else representative of you, the size? 6x10cm at most. The freres didn't want to dumb down their complex images and still wanted to hand the photos like paintings or images honorable enough to hang on the wall. Les cartes de visite were an important part of the social life and complexity of the french, much like a bunch of yuppies flexing their presentation cards made with eggshell texture, kids bragging their baseball/pokemon cards or teenagers collecting italian-made football squad cards in World Cup days, the french likewise liked to strut their stuff and/or leave their shit in houses with a note behind telling their pals "where are you?" along with their mug on the front with a rad suit and a curly mustache. The unsuspecting gift receiver was left then with an item to fill their personal logs or family books with pictures of their friends, contacts or merely a cool picture of a famous dude or composition. So, as you can imagine the lack of that presentation meant no cool points, no coolness means no money, no money means no resources, no resources means no photo and there you have it.
Already midnight in Gypsyland? at least i posted AA's portrait in the good 7th day. Talking about portraits, i haven't found one of either Bisson freres, funnily enough. In these last ones we can see the dantesque proportions of these holy places with the ever-so-useful human scale figure, seen in the entrance of the second picture. Lovely places, shame about what the city has become, at least there's also a couple of street photography items see? it existed since the mid 19th for us to enjoy.
Some of the fabled Egypt ruins images before that place was massively plundered by the locals, although tomb raiders had already done much damage way, way before these images were taken.
>>82 >>83 >>84 >>85 >>86 >>87 >>88 >>89 these are good anon, thanks. i'm updating my board archive to catch these.
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So, after seeing a quick look (relevant to the future topic at hand) of what those frenchies did with their techniques, lenses and funding, we are going to jump to the back-then Great Kingdom and check an interesting subject sadly not given enough credit but highly relevant too for the enduring legacy it provoked. Then we will get another quick photog example from said stylistic repercussion movement, he's picked not so much due to his name but to give an above-average, but still usual, subject that represented the immediate context of the guy we want to fully see. Although it's worth saying that the next figure here was as influential, if not even a bit more, in the long run but due to circumstances there's not that much to see; still i cannot stress the importance enough. Also i broke a rule there with the Bissons, 35 photos instead of 12s or 24s, but it's to showcase their work on a single sitting instead of returning to them. Our actual dump will be 100+ due to it being a special subject so we are only starting, and in the future i will probably just post whatever seems necessary to showcase a photographer's work, but it will be done in 5s or 10s... just because of my OCD there, s-sorry. >>90 I was supposed to do a long dump but wanted to do it on that specific day, so i just let it rest while refining the writing down a bit, i left many details out it's embarrassing so i'm just writing it again. >i'm updating my board archive to catch these. wat
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>>91 Please, post more of that exquisite architecture stuff if you can.
>>91 Cool. Well I'm glad you are Anon. >wat I keep personal, full board archives of ones I'm interested in. Anoncafe/p is one of them. That's all.
>>92 Well i was originally going to jump into my next subject but what the hell let's post some more of the bros, i took another rest to read some more, funny i can go active all day but the moment i put myself a goal i get all lazy and sleepy. I didn't really went far like i usually do with these brothers because i didn't find many "presentable" landscapes from them but i guess there's a few more from the arch area i kept reserved. Architecture photography is one of my most favorite things so in the future i will probably lurk around that, although it is very few who took their credits continuously other than a couple of despot individuals of hebrew descent.
>>93 >I keep personal, full board archives of ones I'm interested in Hey man thanks for the interest, no sarcasm honestly i felt warm when i read that. Hope you like what we are going to see, it's going to be plenty, and i will try to be more complete with the filenames next time now that you mention that.
>>92 Actually i'm glad you told me to return, it didn't cross my mind to search for Bisson "Freres" or "Fratelli", and i found by chance an italian article with tons of cool photos and extra bits of history of the Bissons that complete the puzzle. Well what can i say, these guys were a secondary subject and it ended up being a dump as big as the main one, but it's for the best as it seems they were more important than i thought first.
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My dagese is extremely rusty but i could manage to understand most of the article: >https://www.giornalepop.it/fratelli-bisson-talenti-diversi-per-un-unico-obiettivo/ According to it these fellas used photography as an almost professional escape for their actual interests, Louis was previously an architecture student with a side affinity in chemistry while Rosalie also ventured a little into it along with liking the mountainerism life (we will hear that kind of thing later on with another subject). Louis ended up in photography and started with the Daguerrotype process, managing to perfect the technique along with shortening the exposure by such very dramatic times that he was recalled to the National Academy of Science to explain his discovery. In 1843 he officially opened his studio in the gorgeous St. Germain area (today a Saudi enclave), his practice was renowned and was later on recalled to the National Assembly too.
Pretty skilled dude it seems but these invitations were reiterative because let's remember, back in those years France would become a batshit insane political struggle between monarchists, republicans, republicans hiding as monarchists to get a hold on power and complete a cool succession and also monarchists hidden as republicans going for the legal way to get power and do a switcheroo to be kangz again, these were in the end the eventual winners/ Still nothing really big happened other than economical reforms which affected the countryside to either get paid to grow food or to repair old glory, so things were going on as usual with France making war with others and stealing land until the Paris Commune happened decades later
By 1850 Rosalie would come into the scene as the younger brother trying to help Lou, later on in '51 a new way of photography would appear in France called the Collodion Process, they switched to it immediately and with their previous experience dealing with Daguerre's plates they basically became the most advanced protogs around, at least in merely technical aspects. Still the story goes that Lou and Ros would usually work in separate ways, the former was actually supported by Louis Sr. the father while Ros would go around securing investments or closed inside his studio.
In that '51 year Lou would also be one of the founding members of the Societe Heliographique or Heliographic Society, a group of photographers allied with an assortment of other artists and quirky scientists to discuss and get drunk talking about ideas and ways to do stuff. Basically a kool kid klub using their jobs and interests as social justification.
In the next years they would be fought hard by the new wave of highly competitive and inventive photographers looking to cash-in in that very in-vogue profession, education and techniques to pull it off were more commonly found and the dudes needed to pack some punch to keep living. Lucky for these they were friends of many influential people who ended up benefiting in the '48 revolution that switched tracks to another monarchy with Napoleon III by '52, along with being part of that society which had top brass and trophies in international competitions, which meant more contacts or handover jobs.
Soon enough the brothers became sought-after for their high resolution images which meant they were one of the few who could pull out good Architecture Photography, as you can see our current theme. Some other jobs happened, such as jobs from the Museum of Natural History in the local Paris, and due to the volume of work sometimes they needed help from others, mainly cohorts from the club like Charles Blanc, a known art critic from those days. Mainly taking pictures of animals, objects and sometimes highly-valued paintings in the Louvre.
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In 1854 these guys met an industrial hotshot from Alsatia, a German region west of the Rhine that France would also grab in a dubious treaty at the end, the Versailles one but many years later the dude was called Dollfus-Ausset and made a deal with royal help (but not entirely to them, so Nap III doesn't actually take the credit here) requesting the brothers to take pictures of the Mont Blanc's glaciers, this because he observed and was convinced the ice there was starting to slowly retire from the area but also returned from time to time due to some reason, something every scienceman laughed at because glaciers are eternal.
Rosalie tried to go there a couple of times but failed short of the summit due to climate conditions, but the third time was the charm and he reached peak by 1861, taking a bunch of photos while having his sweet freezing time. This concluded Ros' personal ambition, having previously taken a famous 180cm x 50cm panoramic print of this mountain range, which kind of obsessed him while also giving him fame of being the first of its kind. While not as exaggerated as initially claimed, the glacier did seem to be retreating further up, proving the alsatian-with-a-suspicious-name somewhat right but also leaving the frenchies in their science saloon with a dilemma on why. These kinds of landscapes tried to reach a new modal for photography genre, trying to capture a realistic vision in form with that era's progress by factual evidence, but also trying in capturing the "majestic" nature itself and bending it into a "romantic" sort of art; the technical feat of it too was a factor in the extreme conditions. While in later years this kind of thing wouldn't be that much explored, it would prove to be extremely influential due to print reissues and the advent of photobooks after WWI (just prepping the shots here so things makes sense later on)
The side-kick of Ros trips were plenty, other than being paid for doing what he secretly liked, he also ate tons of foods and had the opportunity to live near an affected area of a big earthquake around 1855, which he himself survived and retold with photographic evidence on a report, which became a paradigm in Paris' scientific and journalistic community. Louis would also touch stone with all these shenanigans and Dollfus' money bags, his studio would reach the status of the city's best and by 1858 even the guy himself Napoleon III and his wife Eugenia would be usual clients; by 1860 they were invited to accompany him in his Savoya trip we previously mentioned.
Piece of shit internet, here goes again. Plenty of international exhibitions and a bunch of expensive print books happened which made these guys quite famous, and along his just-as-famous peers, pushed photography as a new medium for doing cool stuff. Many trips to achieve excellence, journeys to capture many of central europe's finest spots and so on and so on took a toll on Dollfus' pocket, the man loved art but had to abdicate on his hobby, especially after Ros pulled the final job on Mont Blanc. Then the big boom of photography happened around those years and everybody wanted/could only pay a humble carte de visit instead of a jumbo high-resolution print, and just like we said in >>87, the bros folded ultimately; the year was 1863, quite the dramatic fall.
Louis would team up in business with a dude called Emile Placet and would call it quits on photography at 59yo. Meanwhile Rosalie would go around as a freelancer photographer for various studios, he even reached Blanc's summit again in 1866 sponsored by a new wealthy photo studio called Leon & Levy, with such name you can imagine who were behind the investments. He traveled to Egypt around 1868-69, shot a new hall in the Louvre around 1873 for a private company called Goubil, and around 1883 worked for an alsatian company by Adolphe Braun & Co.
Lou died around 1876 (3 years after retiring) of unknown circumstances, Ros would call it quits in 1900 at 76. Both brothers have a clean catalogue of their work in a section of France's National Library, which includes tons of the portraits done to the socialite of the era, not included here due to reasons :^)
Speaking of their work i can say their technique was top notch for the era, and certainly some of that artistic eye helped with many photos, but most importantly it was the archival work itself that sells it because, for me, many of the images don't really have framing or composition, they aren't intended to either as they are works from companies or museums trying to do just that: Save images from places to be seen later on for any changes which happened sooner than later with buildings like the Old Hotel and the Tuileries Palace being torched down by gommies in the Bloody Week of 1870
These are from Roma, second image shows some soldiers guarding the "Temple of Vesta", which i think is actually a misnomer unless i didn't get a memo, the original one was destroyed multiple times and finally demolished by the church a thousand years later due to reasons. It was partially reconstructed but still that stuff is in the Roman Forum, not in the place the image shows. Don't really know what place it is but it does look like the archetype of a Vesta Temple, they say no man can enter a Vesta temple unless you want to receive serious damage or curses.
Monumental arc details and some detail from a church in Pisa. Very classy wooden fence there in Constantine.
Here's the eerie ones, very especially the last image with the lack of a discernible background or sky. love me some In the Void places. Also the Coliseum picture features in its lower left, probably by accident, a change on focus points which gives the illusion that the object in the image is a miniature. The effect is called Diorama but it's usually referred to as "Miniature Faking" or Miniaturization. And there we go, Les Frères Bisson in their arch and nature form.
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>>117 >lower left FUCK, i meant lower right, in the grassy field. Here's more explicit examples of said effect.
>>117 These are all very nice Anon, thanks.
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>>118 I enjoyed your niche historic insights a lot. Never before in all my shitposting career have i saved so much content from a single thread. So.. gonna move on to the next subject now? What's it gonna be? Interiors? Furniture? Self-portraits? Sculptures? Tableware? Elements of nature? Getting greedy here.
>>120 Oh, our subjects will be specific photographers and their realm of work rather than genres or themes, next one will be an obstinate lady who inadvertently changed the stylistic parameters of the hobby, it's quite off-topic from all these arch photos a couple of brothers did but in the end you'll see the context i wanted to reach. But in terms of aesthetics, especially European ones, it's just as interesting although won't be as big of a dump. Searching some bigger resolution pictures to make it worthwhile.
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I'm monitoring this thread.
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>>113 >Save images from places to be seen later on for any changes I don't mean to alarm you all, but speaking of which...
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Looks like OP has abobdoned us. Did he finaly realized that he's casting pearls before the swine? Maybe corona chan got him? Or maybe they took away his internet privileges inside the prison? Guess we'll never know.
>>125 >Looks like OP has abandoned us Hey there, not really but not gonna lie, i got a bit tired of reading and trying to write our subjects along with finding the best possible resolutions, but the images are already collected (220+) and i got plenty of names to investigate from the japanese spectrum later on, which is basically a different world in terms of photography as they play with their own rules (as usual from them to be fair). I would've not read so much but there's some photographers who have tons of legacy that deserve a bit more than 3 or 4 notes, although sometimes i would go into details not that necessary like the Pre-Raphaelites and their morally ambiguous shenanigans. I also got sidetracked organizing and filtering my own unedited photos into project folders, they are 8000+ and most of them out-of-focus and underexposed because i'm a beginner/my DSLR is a piece of trash with cheap broken lenses, it's a personal battle so i didn't think it was relevant for the audience. Honestly i didn't realize 2 weeks have passed already, guess i'll resume it soon enough.
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>>126 >guess i'll resume it soon enough I'll be looking forward to it.

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