Paul Nicklen, a contributing photographer for National Geographic, talks about his wild sea adventure with a giant leopard seal. His photographs tell a frightening story, but his memory of the events was rather peaceful and playful. [via]
The New York Times has a collection of Brian Bielmann’s surfing photographs that are quite exciting to look at. Bielmann says that he finds inspiration from fashion photographers like Howard Schatz to shoot waves creatively (which have garnered him so much fame that he has lived exclusively off of the income from his surfing photographs for a while now).
I remember when I was in Hong Kong last summer, I kept seeing these rounded corner buildings and I thought that they looked really weird but kinda neat. I guess there’s so many of them because the planning of the streets in Hong Kong aren’t necessarily hard corners like they are in Manhattan and some other more modern cities.
Anyway, it turns out that there’s quite a lot of these rounded corner houses/buildings and Michael Wolf has photographed a good number of them in his series. Check it out if you’ve got some time. I really should take this downtime in my career to plan a trip back to Hong Kong. I wasn’t there nearly as long as I wanted to be last summer.
William Eggleston is one of my favorite photographers. And though many would call his images rather ordinary, I think the reason why I love his work so much is because he has such a perfect way of seeing the world around him. His eye is definitely something I long to imitate and he’s certainly one of the photographers I would consider as a source for my own photographic work.
With that said, I had the chance to pick up 2 1/4 today, a book published by Twin Palms Publishers that profiles many of Eggleston’s earliest color photographs (the name of the book is a tribute to the size format in which Eggleston began shooting). The book is much bigger than I had imagined and the photographs are just fantastic to browse through. The book is like a huge mass of ordinary places and objects that somehow seem extraordinary through the lens of William Eggleston’s camera.