Showing posts with label TINA P-HOTOGRAPHY. Show all posts
Showing posts with label TINA P-HOTOGRAPHY. Show all posts
Thursday, April 25, 2013
★ Follow the sun fotografije - inspiracija: Rose iz Titanika; model: Žana Leitinger
Wednesday, April 17, 2013
★ And the world's got me dizzy again
 |
| Copyrights: Tina Puksic |
And the world’s got me dizzy again...
You think after so many years I’d be used to the spinAnd it only feels worse when I stay in one place
So I’m always pacing around or walking away...
I keep drinking the ink from my pen..
And I’m balancing history books up on my head
But it all boils down to one quotable phrase
If you love something, give it a way...
...So I’m up at dawn
Putting on my shoes
I just want to make a clean escape
I’m leaving but I don’t know where to
I know I’m leaving but I don’t know where to...bright eyes
Monday, April 15, 2013
A bit of my latest photography
With an old camera, and the very much not updated equipment :) When the right time comes...this will change :)
Copyright: Tina Pukšič
Copyright: Tina Pukšič
Friday, January 20, 2012
Sally Mann: The Flesh and The Spirit
Text by John Ravenal, David Levi Strauss, Anne Wilkes Tucker.
Sally Mann: The Flesh and The Spirit
is the first in-depth exploration of this world-renowned artist's
approach to the body. Throughout her career, Mann has fearlessly pushed
her exploration of the human form, tackling often difficult subject
matter and making unapologetically sensual images that are
simultaneously bold and lyrical. This beautifully produced publication
includes Mann's earliest platinum prints from the late 1970s, Polaroid
still lifes, early color work of her children, haunting landscape
images, recent self-portraits and nude studies of her husband. These
series document Mann's interest in the body as principal subject, with
the associated issues of vulnerability and mortality lending an elegiac
note to her images. In bringing them together, author and curator John
Ravenal examines the varied ways in which Mann's experimental approach,
including ambrotypes and gelatin-silver prints made from collodian
wet-plate negatives, moves her subjects from the corporeal to the
ethereal. Ravenal also supplies a comprehensive introduction as well as
individual entries on each series, and essays by David Levi Strauss
("Eros, Psyche, and the Mendacity of Photography") and Anne Wilkes
Tucker ("Living Memory") add different, but equally illuminating
perspectives to this work. Sally Mann: The Flesh and The Spirit is a must for any serious library of photographic literature, students, scholars, collectors and others interested in her work.
Sally Mann
(born 1951) is one of America's most renowned photographers. She has
received numerous awards, including NEA, NEH, and Guggenheim Foundation
grants, and her work is held by major institutions internationally.
Mann's many books include What Remains (2003), Deep South (2005), and the Aperture titles At Twelve (1988), Immediate Family (1992), Still Time (1994) and Proud Flesh (2009). She lives in Lexington, Virginia.
Featured image is from Sally Mann: The Flesh and The Spirit, published by Aperture with the Virginia Museum of Fine Arts.
Monday, October 4, 2010
Friday, November 6, 2009
★ FOUR GENERATIONS
:)
~ Great-grandfather's camera, his album, and his glasses (which he made himself) ~
~ Grandmother's camera and her album ~
~ Mother's camera and her album ~
~ My first camera and first developed contact sheets ~
~ Great-grandfather's camera, his album, and his glasses (which he made himself) ~~ Grandmother's camera and her album ~~ Mother's camera and her album ~~ My first camera and first developed contact sheets ~★ Analogue nostalgia
Looks like someone is going to shoot a wedding in Las Vegas in January:)))))) yeeeehaw!
Need more memory cards, flash, additional battery (= reminder!!). Oh, man (I moan) .Where have all the good days in photography gone. You know... getting a role of film or two and wait patiently (and economically) for that perfect shot. No memory cards for thousands of random, shitty photos you can delete afterwards. No spending money you don't have for additional equipment you need with a digital. Just the basics and patience, and eagerness to see the developed role of film, being intimate with it in the dark room, putting it on the reels in complete darkness, taking it to the sink in a tank, pouring liquids into it, shaking it, checking the clock, and then getting it out and ...MAGIC. Your efforts unwind on a strip of film. You dry it, take it to the darkroom and with a bit of light and chemicals, you make a print. It's a ritual. Meditation topped with the feeling of success.
Well, and now.... the digital mania is here. The analogue material is almost gone, and I have to make do with what I have. And what I have is not much. It's a shitty lens, performing terribly bad in low light conditions. I'll have to go through hell to get a few good shots in the city of lights. Irony right there. I'm going to the city of lights and it will be too dark for good shots. hehahha.
Well, it will be like in the good old days. Before I went to the States in 2003, my grandmother secretly gave me a little money, so that I could buy a camera there. And so I did. At Pinkey's, in this run down neighborhood with run down houses and broken cars along the road in Little Rock, I bought my very first totally manual, analogue, camera, a Kalimar with an additional zoom lens. It was a great camera for learning (a requirement in my photography class). I used it throughout my travels. I remember using it at concerts, in Las Vegas....well, in places with low light. And I got some good shots. They were not the most clear shots in the world, but they were good, thanx to the low light lens I used. No flash. :) And I managed.
Need more memory cards, flash, additional battery (= reminder!!). Oh, man (I moan) .Where have all the good days in photography gone. You know... getting a role of film or two and wait patiently (and economically) for that perfect shot. No memory cards for thousands of random, shitty photos you can delete afterwards. No spending money you don't have for additional equipment you need with a digital. Just the basics and patience, and eagerness to see the developed role of film, being intimate with it in the dark room, putting it on the reels in complete darkness, taking it to the sink in a tank, pouring liquids into it, shaking it, checking the clock, and then getting it out and ...MAGIC. Your efforts unwind on a strip of film. You dry it, take it to the darkroom and with a bit of light and chemicals, you make a print. It's a ritual. Meditation topped with the feeling of success.
Well, and now.... the digital mania is here. The analogue material is almost gone, and I have to make do with what I have. And what I have is not much. It's a shitty lens, performing terribly bad in low light conditions. I'll have to go through hell to get a few good shots in the city of lights. Irony right there. I'm going to the city of lights and it will be too dark for good shots. hehahha.
Well, it will be like in the good old days. Before I went to the States in 2003, my grandmother secretly gave me a little money, so that I could buy a camera there. And so I did. At Pinkey's, in this run down neighborhood with run down houses and broken cars along the road in Little Rock, I bought my very first totally manual, analogue, camera, a Kalimar with an additional zoom lens. It was a great camera for learning (a requirement in my photography class). I used it throughout my travels. I remember using it at concerts, in Las Vegas....well, in places with low light. And I got some good shots. They were not the most clear shots in the world, but they were good, thanx to the low light lens I used. No flash. :) And I managed.
Here are some shots with this camera (scanned).
~ my very first (or maybe second) print, right out of the darkroom ~
~Faulkner House, Conway ~
~ Cleaning lady in the music hall, Hendrix College ~
~ Inspired by Newton ~
~ Clarksdale, Mississippi - home of the blues ~
~ Clarksdale, Mississippi ~
Subscribe to:
Posts (Atom)