Ansel Adams on Photographic Education

This week I came across a brilliant article by the great Ansel Adams, both a photographer, a theorist of photography and a committed environmentalist, which was originally published in the third issue of the celebrated Aperture Magazine. In this article Ansel Adams discusses his vision for the perfect education of a master photographer and mentions…

THE ZEN JOURNEY: NEPAL 10

Yes, spring has come This morning a nameless hill Is shrouded in mist. Matsuo Basho (1644-1694) (c) Stanislav Shmelev, 2017  

THE ZEN JOURNEY: NEPAL 8

Fresh spring! The world is only Nine days old These fields and mountains! Matsuo Basho (1644-1694) (c) Stanislav Shmelev, 2017

THE ZEN JOURNEY: NEPAL 7

Spring rain leaking through the roof dripping from the wasps’ nest. Matsuo Basho (1644-1694) (c) Stanislav Shmelev, 2017

THE ZEN JOURNEY: NEPAL 6

I’m a wanderer so let that be my name – the first winter rain Matsuo Basho (1644-1694) (c) Stanislav Shmelev, 2017  

THE ZEN JOURNEY: NEPAL 5

It is with awe that I beheld Fresh leaves, green leaves, Bright in the sun. Matsuo Basho (1644-1694) (c) Stanislav Shmelev, 2017

THE ZEN JOURNEY: NEPAL 4

Petals of the mountain rose Fall now and then, To the sound of the waterfall? Matsuo Basho (1644-1694)   (c) Stanislav Shmelev, 2017  

THE ZEN JOURNEY: NEPAL 3

Temple bells die out. The fragrant blossoms remain. A perfect evening! Matsuo Basho (1644-1694) (c) Stanislav Shmelev, 2017    

THE ZEN JOURNEY: NEPAL 2

Moonlight slants through The vast bamboo grove: A cuckoo cries Matsuo Basho (1644-1694) (c) Stanislav Shmelev, 2017

THE ZEN JOURNEY: NEPAL 1

What follows is a concept of a project exploring the idea of a creative collaboration with, or inspiration through the poetry of a Japanese Haiku master Matsuo Basho (1644-1694). Each photograph will be accompanied by a poem. While not reciting specific poems during the walk, I was constantly reminded of the particular views, scenes or…

Walter Benjamin on photography

Walter Benjamin (1892-1940) proposed a theory that the technology is capable of determining the prevalent art forms of the time and the changing modes of perception, reflecting the historic moment, ideas, beliefs, but also technology of the time. He writes: ‘Artistic production begins with figures in the service of magic’. (Benjamin, p.25). And continues: ‘Art…

Eisenstein on Montage

Serigei Eisenstein (1898-1948), a master of montage as a creative cinematographic tool and very much a person of his time, considered montage as a dialectic collision, out of which a new meaning emerges. He emphasized ‘the principle of optical counterpoint as one of the significant principles of visual conflict and considered several types of ‘cinematographic’…