Kenny Logins posted:

Do you like Ansel Adams? I've been a big Group f/64 fan ever since the release of their 1932 exhibition. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was in 1932 where Ansel Adams' presence became more apparent. I think their manifesto was the group's undisputed masterpiece. It's an epic meditation on purity. At the same time, it deepens and enriches the meaning of the preceding exhibitions. Christy, take off your robe. See the brilliant ensemble shooting of Van Dyke, Adams and Weston. You can practically see every nuance of every subject. Sabrina, remove your dress. In terms of exposure craftsmanship, the sheer clarity, this exhibition hit a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the image in Half Dome, Apple Orchard, Yosemite. In this photograph, Ansel Adams addresses the problems of icy trees. Moonrise, Hernandez, New Mexico is the most moving photograph of the 1940s, about the moon, and villages. The exposure is extremely uplifting. Their compositions are as pure and clear as anything I've seen in photography. Christy, get down on your knees so Sabrina can see your rear end in a top hat. Ansel Adams' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially shots like El Capitan, Winter, Sunrise and Moon and Half Dome. Sabrina, don't just stare at it, eat it. But I also think Ansel Adams works best within the confines of the group, than as a solo photographer, and I stress the word photographer. This is Aperture, a great, great magazine, a personal favorite.

Kenny Logins posted:

Do you like Ansel Adams? I've been a big Group f/64 fan ever since the release of their 1932 exhibition. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was in 1932 where Ansel Adams' presence became more apparent. I think their manifesto was the group's undisputed masterpiece. It's an epic meditation on purity. At the same time, it deepens and enriches the meaning of the preceding exhibitions. Christy, take off your robe. See the brilliant ensemble shooting of Van Dyke, Adams and Weston. You can practically see every nuance of every subject. Sabrina, remove your dress. In terms of exposure craftsmanship, the sheer clarity, this exhibition hit a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the image in Half Dome, Apple Orchard, Yosemite. In this photograph, Ansel Adams addresses the problems of icy trees. Moonrise, Hernandez, New Mexico is the most moving photograph of the 1940s, about the moon, and villages. The exposure is extremely uplifting. Their compositions are as pure and clear as anything I've seen in photography. Christy, get down on your knees so Sabrina can see your rear end in a top hat. Ansel Adams' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially shots like El Capitan, Winter, Sunrise and Moon and Half Dome. Sabrina, don't just stare at it, eat it. But I also think Ansel Adams works best within the confines of the group, than as a solo photographer, and I stress the word photographer. This is Aperture, a great, great magazine, a personal favorite.

Kenny Logins posted:

Do you like Ansel Adams? I've been a big Group f/64 fan ever since the release of their 1932 exhibition. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was in 1932 where Ansel Adams' presence became more apparent. I think their manifesto was the group's undisputed masterpiece. It's an epic meditation on purity. At the same time, it deepens and enriches the meaning of the preceding exhibitions. Christy, take off your robe. See the brilliant ensemble shooting of Van Dyke, Adams and Weston. You can practically see every nuance of every subject. Sabrina, remove your dress. In terms of exposure craftsmanship, the sheer clarity, this exhibition hit a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the image in Half Dome, Apple Orchard, Yosemite. In this photograph, Ansel Adams addresses the problems of icy trees. Moonrise, Hernandez, New Mexico is the most moving photograph of the 1940s, about the moon, and villages. The exposure is extremely uplifting. Their compositions are as pure and clear as anything I've seen in photography. Christy, get down on your knees so Sabrina can see your rear end in a top hat. Ansel Adams' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially shots like El Capitan, Winter, Sunrise and Moon and Half Dome. Sabrina, don't just stare at it, eat it. But I also think Ansel Adams works best within the confines of the group, than as a solo photographer, and I stress the word photographer. This is Aperture, a great, great magazine, a personal favorite.

Helen Highwater posted:

Amazing. But Patrick Bateman was actually a successful man who had charisma and self awareness. None of those things appear to describe our friend here.

Kenny Logins posted:

Helen Highwater posted:

Amazing. But Patrick Bateman was actually a successful man who had charisma and self awareness. None of those things appear to describe our friend here.

InternetJunky posted:

He's not really "Large Format Guy". He's just some guy with Aspergers/Autism that posts these weird reddit posts like his recent large format one. I think his previous post was about opening some kind of photography-related store in a nearby mall where he would sell his work. Before that I remember a post where he outlined about $50,000 worth of gear he was going to rent for very very specific shots in a national park trip he was planning (ie. "I will use the 5d3 and a Canon 16-35mm v2 lens with a Lee 6-stop filter to take a picture of this mountain at 6am"). Then before that I think he first popped up selling his Christmas cards and we all made fun of his pictures because they were crazy bad.

Also, his reddit history reveals he loves scat porn. A lot. It's not really relevant to his photography, but it is a nice little cherry on his cake.

quote:

There were good and bad things today. Good news is I got an iPhone 6s to replace the malfunctioning iPhone 5s. Bad news is the DSL at home stopped. I called AT&T and I was not happy. I’m thinking about changing the home ISP. Thank God for what’s right. Pray about the ISP issue.

Helen Highwater posted:

I post quite regularly in r/Analog and r/AnalogCommunity. They are mostly full of idiots but they are still somehow better than r/Photography. As long as you don't mind the same questions every two days because information permanence on Reddit is not a thing by design.

Kenny Logins posted:

Do you like Ansel Adams? I've been a big Group f/64 fan ever since the release of their 1932 exhibition. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was in 1932 where Ansel Adams' presence became more apparent. I think their manifesto was the group's undisputed masterpiece. It's an epic meditation on purity. At the same time, it deepens and enriches the meaning of the preceding exhibitions. Christy, take off your robe. See the brilliant ensemble shooting of Van Dyke, Adams and Weston. You can practically see every nuance of every subject. Sabrina, remove your dress. In terms of exposure craftsmanship, the sheer clarity, this exhibition hit a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the image in Half Dome, Apple Orchard, Yosemite. In this photograph, Ansel Adams addresses the problems of icy trees. Moonrise, Hernandez, New Mexico is the most moving photograph of the 1940s, about the moon, and villages. The exposure is extremely uplifting. Their compositions are as pure and clear as anything I've seen in photography. Christy, get down on your knees so Sabrina can see your rear end in a top hat. Ansel Adams' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially shots like El Capitan, Winter, Sunrise and Moon and Half Dome. Sabrina, don't just stare at it, eat it. But I also think Ansel Adams works best within the confines of the group, than as a solo photographer, and I stress the word photographer. This is Aperture, a great, great magazine, a personal favorite.

Kenny Logins posted:

Peepin' that new thread title

xzzy posted:

Spotted in my hotel room, so I'm not surprised they use garbage for decorations but I got stuck wondering what kind of pretentious dweeb would ever consider publishing such a piece.



"Hmm yes this perfectly depicts my disdain of long exposure waterfalls, the lovely light painting was genius *uploads*"

Unfortunately I couldn't find the author.

Kenny Logins posted:

Do you like Ansel Adams? I've been a big Group f/64 fan ever since the release of their 1932 exhibition. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was in 1932 where Ansel Adams' presence became more apparent. I think their manifesto was the group's undisputed masterpiece. It's an epic meditation on purity. At the same time, it deepens and enriches the meaning of the preceding exhibitions. Christy, take off your robe. See the brilliant ensemble shooting of Van Dyke, Adams and Weston. You can practically see every nuance of every subject. Sabrina, remove your dress. In terms of exposure craftsmanship, the sheer clarity, this exhibition hit a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the image in Half Dome, Apple Orchard, Yosemite. In this photograph, Ansel Adams addresses the problems of icy trees. Moonrise, Hernandez, New Mexico is the most moving photograph of the 1940s, about the moon, and villages. The exposure is extremely uplifting. Their compositions are as pure and clear as anything I've seen in photography. Christy, get down on your knees so Sabrina can see your rear end in a top hat. Ansel Adams' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially shots like El Capitan, Winter, Sunrise and Moon and Half Dome. Sabrina, don't just stare at it, eat it. But I also think Ansel Adams works best within the confines of the group, than as a solo photographer, and I stress the word photographer. This is Aperture, a great, great magazine, a personal favorite.

8th-snype posted:

Ansel Adams is mentioned in the first sentence

8th-snype posted:

Ansel Adams is mentioned in the first sentence

MelancholyMark posted:

https://twitter.com/ParkerMolloy/status/951982072561913856

Yond Cassius posted:

It's called Portrait Professional, right? You turn the dials all the way up, that's the most professional!

ianskate posted:

At least her rate wasn't $25/shoot... but it's also a great reminder about what's wrong with this industry, and why being a "professional photographer" is a dead-end pursuit these days. If this is the playing field, what in gods name are we all doing here?

MelancholyMark posted:

https://twitter.com/ParkerMolloy/status/951982072561913856

Pablo Bluth posted:

But then lovely photographers aren't exactly above just using others' work for their portfolio.
http://stopstealingphotos.com/

Pablo Bluth posted:

But then lovely photographers aren't exactly above just using others' work for their portfolio.
http://stopstealingphotos.com/

Helen Highwater posted:

This is the photographer's portfolio site

I don't know how depth of field works, so I'll just cut out the subject and put a filter over the background.


Portraits by David Cronenberg


I don't always horizontally flip my images, but when I do, I forget to clone out roadsigns.

akadajet posted:

I should take pictures for money. Mine are only half as bad as those.

rio posted:

If you really want a soul sucking experience then go for it. You will start noticing the people who get hired much more often than you for all sorts of reasons who are much shittier photographers, edit with poor taste and think they are awesome.

SMERSH Mouth posted:

Transcending the limits of perception and reality. Seeing the world as it truly is. Piercing the veil.



Smooth the faces. Extend the benches! The clone stamp tool is the cosmic ouroboros that multiplies the tree of life and the paint brush reveals the visage of the lamb on all of those who bear his mark. After the rapture, only pug mixes will remain.