Stacy J. Platt

in the introductory essay to anne wilkes tucker's encylopedic tome the history of japanese photography, the author asserts that araki and fukase both became known to the japanese because they were the first to show the "intimate homelife and personal emotional state of their subjects." i also can't

three more for the gold-leaf album: a few notes-to-self on future process: *avoid 90# hotpress.  it curls too much with the multiple layers of media, and often jams the copier. *bristol board 2ply

a venn diagram i've been (a)musing over the past couple of days. it's probably troubling (and telling) that i can't quite commit myself to one sphere.

i've been thinking about photographers in love, and the photographs they make while in that state. and also its shadow-twin: same photographer, making something out of a place of loss from that love. what is it to make a memory out of loss? to distill the precise ache of mourning? in photographs tha