With over 30 books to his name, Waite’s distinctive images are recognized around the world and his work has received wide critical acclaim over many years.
Learn more about Charlie Waite here.
View more Photographer’s Videos here.
Enjoy this rare interview with photographer Wynn Bullock.
Read 24 great quotes by Wynn Bullock.
Enjoy this collection of quotes by photographer Christopher Burkett.
“I would come out of the chapel after communion and occasionally I would see the world transformed, filled with light.” – Christopher Burkett
“I knew that if it was real, which it was that there must be some way to photograph that.” – Christopher Burkett
“The things that I’m trying to present in my photography are things that are absolutely real in the world, subtle qualities that many people don’t see.” – Christopher Burkett
“I’m working within a very limited box, in terms of possibilities. But, by working within that box to the maximum amount … it’s like a form of discipline, it is a form of discipline, and there is a strength and a depth that is possible within that discipline that doesn’t happen in any other way.” – Christopher Burkett
“Traditionally, art was not meant to be a worship of the ego of the artist, it was meant to be an expression of God’s grace, of divine things.” – Christopher Burkett
“I’m concerned about myself, what I’m doing, what my spiritual answer is rather than what I think other people should be doing. If my religion has any value it’s in my life and what I do. That’s its power and that should be evident. If it isn’t then it won’t be obvious. You know what I mean?” – Christopher Burkett
“This crystal clarity is part of the experience of trying to see the world as it truly is. The world is full of an infinite number of details. It’s only our blindness, in one form or another, that doesn’t allow us to see that.” – Christopher Burkett
“The truth is that if we lived .. I was trying to find a word for it earlier, all terms are limiting … in a state of divine grace everything would be even more real. That’s exactly what I’m trying to portray in my photography, that moment of … I don’t like to put a word on it because it’s too limiting. As soon as you put a word on it, it becomes a concept rather than a reality. And what I’m trying to present with my photography is that almost super real quality, not fake real, but super real. I’m trying to show something that is precious and real, that most people do not see.” – Christopher Burkett
“I have terrible vision without glasses. I didn’t know that until I was in first grade. Most of your visual processing mechanism is formed by the age of six. I couldn’t see the features on someone’s face unless I was about a foot and a half away from them. I learned to identify people by their shape and the way they walked. I had no idea. I had no idea at all. Then I got glasses. It was quite a revelation. All of a sudden the world was transformed with these details. I’ve tried not to lose that sense of astonishment and wonder. I never knew there were leaves on trees, I could only see if they had fallen. I’d never seen clouds before. The moon in the sky had been a fuzzy blob. I could never see stars, some of the brightest ones were a very faint globule, out of focus, about the size the moon would normally be. That whole sense of incredible wonder, of miraculousness has stayed with me. The whole world is full of marvelous details.” – Christopher Burkett
“I don’t try to justify what I do. I think the work is strong enough to speak for itself. I don’t mean that to sound arrogant, but to me it’s not an issue, because I know what I’m doing is unique and I feel comfortable about that. When I’m out there, I’m not trying to look for a picture that looks like a picture I’ve seen before. I’m trying to see the world fresh and clean, and yet with a knowledge of the history of photography. I don’t think of working within a tradition, I think of working within the world, within life.” – Christopher Burkett
(Drawn on the iPad with Adobe Ideas.)
Here’s a collection of recent landscape sketches.
Drawing does many things for me. Drawing helps me find, refine, and expand ideas. Because of drawing I’m never at a loss for visual ideas – and consequently I become more discriminating about the ones I devote significant time to. Drawing helps me identify essential structures in existing images. After I draw them, (no longer hung up on the details) I understand them better and can better apply what I’ve learned to other images. Drawing helps sensitize me to fundamental compositional patterns. After I draw them, I recognize them more quickly.
For so many reasons drawing is an immense pleasure – and that’s why I keep doing it.
View more sketches from this series here.
See more drawings here.
Richard Misrach has dedicated himself to a single project for a lifetime – the Desert Cantos. Begun in 1979, the Desert Cantos is a series of series that takes its name from its location, the Americandesert southwest, and the structural term for a subsection of a long song or poem. Each canto varies in subject matter, the amount of time it spans, and the number of works included. Numbered as each canto is completed, the first fourteen cantos, in order, are: The Terrain, The Event, The Flood, The Fires, The War (Bravo 20), The Pit, Desert Seas, The Event II, Project W-47 (The Secret), The Test Site, The Playboys, Clouds, The Inhabitants, and The Visitors. Stranded Rowboat, Salton Sea is from the third canto, The Flood. Stylistically ranging in sensibility between minimalism, realism, romanticism, impressionis, and expressionism, Misrach’s work is sometimes challenging aesthetically and always subtly steeped in the social issues that surround land use, ultimately becoming an extended meditation on how man (particularly the American psyche) and nature (specifically the American southwest) define one another.
Misrach thinks of all his desert pictures as part of a single great work, divided by smaller themes and stylistic treatments. When collected together, they become a monumental study constructed by wide-ranging explorations of many aspects of a complex subject with a long history and ultimately a rumination on self and identity. The American west is the landscape that defined the American psyche as we know it. Through his work we come to understand that both may be stranger than we think.
Richard Misrach’s work reminds me of how each work an artist produces is connected to all other works, in one way or another, and that creative development and presentation of that work can highlight those connections, not just for the public but for the artist as well. Even more importantly, he demonstrates the depth and breadth that can be achieved through dedication to a single subject for an extended period of time.
Read my extended conversation with Richard Misrach here.
Find out more about my influences here.
Linde Waidhofer has released her latest book – Unknown Patagonia – available in hardcover or as a free ebook.
“This book is a visual exploration of a precious and so-far unspoiled part of the world that I have fallen in love with. But Central Chilean Patagonia, the Patagonia that no one knows, is a threatened landscape—threatened by destructive mega-dam projects and enormous ugly power transmission lines.”
Read more on Outdoor Photographer.
Download Unknown Patagonia here.
You’ll also find 6 other free ebooks of her beautiful landscape photography.
Learn more about Linde Waidhofer here.
Find out about my Patagonia digital photography workshop here.
Alumni Kathy Beal and Stephen Starkman are included in Joyce Tenneson’s book and exhibit The View Project.
Photographs and comments by a wide array of photographers are included – John Paul Caponigro, Sean Kernan, Douglas Kirkland, George Lepp, Jack Resnicki, Rick Sammon, Joyce Tenneson, Jerry Uelsmann, and many more.
The View Project, conceived and organized by Joyce Tenneson, is an exploration of why certain places or photographs that have such a powerful effect on us as individuals. What is it – beyond surface beauty – that makes specific visual moments so indelible in our memory?
“The View Project is about photographs that mirror something in the photographer’s inner life – images that are personal and powerful, yet perhaps not clearly understood, even to the viewer/photographer” – Joyce Tenneson