2) everything else

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

the manner i've been looking, lately.  and what i've been looking at. birdholes, chattanooga, tennessee century plant, backyard, savannah, georgia the house next door used to be a strip

moriyama's photographs consistently evoke dark, struggling identity-in-the-making. they are grainy, full of contrast, and seem to be about the eternal underside of things. araki's photos, in contrast, seem to be puerile, joyous reaction against such moribund thoughts, and there is a playfulness evid

the quote i read that sucker punched me this week: I pursue no objectives, no system, no tendency; I have no program, no style, no direction.  I have no time for specialized concerns,

It's simply a fact--there are only a few images left. When I look out here I see everything is cluttered up.  There are hardly any images to be found.  One has