1. clientsfromhell:

    Client: My fiancé and I are unhappy with the engagement photos you sent us.

    Me: What’s wrong with them?

    Client: We’re wearing sweat pants in them!

    Me: But that’s what you wore to the shoot. I asked you on the day if you wanted to change into something more appropriate and you said no.

  2. shihlun:

    Protesters marching in Ferguson, Missouri, August 11, 2014.

    (AP Photo/Sid Hastings)

  3. shihlun:

    Ernest C. Withers, I Am A Man, Sanitation Workers Strike, Memphis, Tennessee, 1968.


  4. theincoherentlight:


    Often the limitations (or possibilities) that are created by using a particular kind of photographic tool can actually be an impetus in producing a body of work. One such formal “prompt” serves as the point of departure for Love is a Stranger, a new book by Dublin-based photographer


  5. (Source: nibw43)


  6. "I am going to fax over some pictures that I took from the internet."
    — (via clientsfromhell)
  7. eastmanhouse:

    Measuring bearing in casting, General Electric Co.
    "General Electric"
    Lewis W. Hine, American, 1874 - 1940
    ca. 1934
    gelatin silver print
    11.8 x 16.9 cm.
    National Origin: United States

  8. Pretty Vacant Punk Girls


    Came across Derek Ridger’s Early Punk Photos on IDEA books site. Trip down memory lane. 1977 was a very good year.




    imageOriginal 10 by 8” working print of a photograph taken at The Roxy, 1977.

    imageTaken at the Man In The Moon pub at World’s End in 1977. The epicentre of the punk scene. The eye makeup already looks to the future of post punk and new wave.

    imageThe Roxy, 1977

    imagePhotos copyright: Derek Ridgers



  9. lookingforsnapshots:

    I said earlier that the small size of snapshots is something that has to be worked with. It is perhaps the most conspicuous thing about them. Even though it is in a sense secondary—an adjunct to their purpose, their function as cheap personal mementos—it is number one among their sensory…

  10. bremser:

    Fette Sans, Untitled, 2014

    (Source: fette)

  11. bremser:

    Oscar Grant’s photograph of Johannes Mehserle

    This is a reblog of a post from several years ago. One feature of a militarized state is the suppression of civilian photography.

    Oscar Grant’s photograph of transit police officer Johannes Mehserle is rare: a portrait of the photographer’s killer. Unlike the recent photograph that a politician captured in the Philippines, Grant’s photograph, taken moments before Mehserle shot him in the back, was intentional.

    Much of the media attention given to the Oscar Grant case focused on a handful of videos made by other passengers on the BART train, some of which show Grant being shot. While being detained by BART police, Grant called his ex-girlfriend Sophina Mesa twice from the platform. During this time he also took the photo of Mehserle and sent it to Mesa. Grant’s photograph of Mehserle did not get as much coverage as the videos, as it wasn’t released until the trial began.

    Grant’s photograph raises an important issue that faces every American: the right to photograph, videotape and document while being detained or arrested by the police. Many of us assume we have this right, but with existing wiretapping laws, you can still be arrested and your camera confiscated. Radley Balko’s Reason.com article “The War on Cameras" is essential reading on this subject.

    Demian Bulwa is a reporter and editor for the San Francisco Chronicle, who has covered the Oscar Grant case since the shooting, through the entire Mehserle trial. I asked him a few questions over the phone about this photograph.

    How did the prosecution and defense use this photograph as evidence in the trial?

    Both sides used flat screen TVs, multimedia, everything was timed and choreographed. It seemed they felt they might lose credibility if they weren’t sharp with multimedia. At times the arguments felt like PowerPoint presentations. There were photos, quotes, videos, video of the Taser training.

    It was used by prosecution to show two things: 1. that he [Mehserle] knew his Taser from his gun, that he had actually taken out his Taser twice, that he knew full well between the two weapons. 2. That Oscar was being abused and was concerned about it.

    It was one of many pieces of evidence. It’s part of the puzzle, and hard to tell which ones stuck with the jury.

    What facts were presented about the photograph, when it was taken? Did he take it while face down, turning around?

    Grant was sitting on the ground. The guys were sitting on the edge of the platform for a while. He wouldn’t have had the opportunity in the last moments, the officers were on top of him, with his arms behind him.

    Was there any suggestion by either side that taking this photograph provoked Mehserle, or was some form of resisting arrest?

    I don’t recall.

    Based on the evidence in the trial, and your own speculation, why do you think Oscar Grant took this photograph?

    Most likely he was documenting unfair treatment. He said something to his girlfriend [during the phone call], like “I’m getting beat up here.” It was a way of documenting that, and putting Mehserle on notice. If you take a picture of someone you are saying: I’m watching your behavior. You’re accountable. You are expressing your concern and putting them on notice.

  13. eastmanhouse:

    Organ grinder on street with children passing
    Cromer’s Amateur, French, active 1845 - 1855
    ca. 1848
    8.3 x 7.0 cm., 1/6 plate
    National Origin: France
  14. (Source: nevver, via clientsfromhell)

  15. likeafieldmouse:

    Trevor Paglen - They Watch the Moon (2010)

    "This photograph depicts a classified ‘listening station’ deep in the forests of West Virginia.

    The station is located at the center of the National Radio Quiet Zone, a region of approximately 34,000 square kilometers in West Virginia and parts of Maryland.

    Within the Quiet Zone, radio transmissions are severely restricted: omnidirectional and high-powered transmissions (such as wireless internet devices and FM radio stations) are not permitted.

    The listening station, which forms part of the global ECHELON system, was designed in part to take advantage of a phenomenon called moonbounce.

    Moonbounce involves capturing communications and telemetry signals from around the world as they escape into space, hit the moon, and are reflected back towards Earth.

    The photograph is a long exposure under the full moon light.”

    (via dvafoto)