Enter Ian Parry Scholarship! PLEASE. Deadline extended 20th July 2012. Increased prize of £3,500 and a chance to collaborate with Downstairs@MOTHER, Sunday Times magazine, Save The Children and Canon.
The Ian Parry Scholarship 2012 deadline is June 30th. The application form can be downloaded HERE
Ian Parry was a photojournalist who died while on assignment for The Sunday Times during the Romanian revolution in 1989. That was 20 years ago, he was just 24 years of age. The Ian Parry Scholarship was created by Aidan Sullivan, then picture editor and Ian’s friends and family in order to build something positive from such a tragic death.
Each year we hold an international photographic competition for young photographers who are either attending a full-time photographic course or are under 24. Entrants must submit examples of their work from their portfolio and a brief synopsis of a project they would undertake if they won. The prize consists of £3,500 towards their chosen assignment £500 to those awarded Highly Commended and Commended.
Save The Children are again sponsoring the award by offering one of the finalists an all expenses paid assignment and in addition to this, the World Press Photo automatically accepts the winner onto its final list of nominees for the Joop Swart Masterclass in Amsterdam. This is a significant prize for any photographer and continued with the support of Getty Images, Canon Europe & Sunday Times Magazine, which publishes all the finalist’s work; the scholarship provides an excellent launch into a professional career in photography.
“The IPS is a unique chance for emerging photojournalists to not only have their work assessed and circulated within the wider context of the professional photographic industry but also published in a major national newspaper. Entering awards has now become the most effective way to showcase your work and I would encourage more students to invest in this kind of free promotion” Rebecca McClelland Creative Director IPS.
Once again our extremely well attended exhibition will be held at the Getty Images Gallery / 46 Eastcastle Street, London, W1W 8DX / Telephone: +44 (0) 20 7291 5380
Our sponsors are The Sunday Times, Getty Images, Canon Europe, Save the Children and our sincere thanks to the Frontline Club, British Journal of Photography and Touch Digital.
Young girls dress themselves in mosque appropriate clothing borrowed from a bin at the entrance to the women’s section upon entering the Icherishahaer Mosque for Friday prayers in the old city of Baku, Azerbaijan on July 2, 2010. Image © Amanda Rivkin / VII Mentor Program.
Photographers Laura El-Tantawy, Nafis Ahmed, Jošt Franko and Amanda Rivkin have been selected to join VII Photo’s Mentor Program
The VII Mentor Program was launched three years ago to help young and emerging photographers build and polish the necessary skills to expand their professional practice. The photographers are selected by individual VII Photo members who will mentor them for two years.
Ahmed is based in Bangladesh after studying at the London Guildhall University in Art and Design. He has also received a B.A. from Pathshala, the South Asian Media Academy, with his final semester conducted abroad at the Danish School of Media and Journalism. Ahmed, who will be mentored by John Stanmeyer, “feels compelled to use photography to document the constant changes and impact the collective state of mind of the people,” says the agency.
El-Tantawy, which was featured in BJP last year, splits her time between London and Cairo, where she has been extensively working since the revolution. “Her photographic interest lies in exploring social and political issues, particularly those pertaining to her background,” says the agency. She will be mentored by VII Photo member Ed Kashi.
Franko, a documentary photographer born in Slovenia in 1993, has explored domestic and international social issues, “often touching on the loss of traditional values in the modern world,” says VII in a statement. “Franko’s vision in photography is to document the world, and to thereby unfold, discover and understand it. He believes that his youth and curiosity drive him to pick up themes that are easily and often overlooked.”
Franko, who’s based in Slovenia, will be mentored by Christopher Morris.
Rivkin is an American photojournalist based in Baku, Azerbaijan. She started her career as a print journalism intern at the Associated Press in Madrid in 2007, and later spent time developing several photography projects in Ethiopia and her hometown of Chicago.
“Between 2008-2009 she covered the Midwest region of the United States focusing on local politics, the financial crisis and social issues with The New York Times as a primary client,” says VII. “Rivkin received a Young Explorers Grant from the National Geographic Society in 2010 to photograph life along the Baku-Tbilisi-Ceyhan oil pipeline in Azerbaijan, Georgia and Turkey. In 2011 she was awarded a Fulbright fellowship in photography to return to Azerbaijan.”
Rivkin will be mentored by Ron Haviv.
The four photographers will join Giovanni Cocco, Mikolaj Nowacki and Sim Chi Yin, who were selected for the VII Mentor Program last year.
Meanwhile, photographers Peter DiCampo, Erin Trieb and Tanyth Berkeley have left the agency’s programme. “VII would also like to take this opportunity to wish photographers Peter DiCampo, Erin Trieb and Tanyth Berkeley great success in the future following their completion of the Mentor Program,” says a VII spokesman.
For more information, visit www.viiphoto.com.
calls for applications for Chobi Mela VII
International Festival of Photography
Drik has announced the theme Fragility for the Chobi Mela VII, International Festival of Photography to be held in January 2013 in Dhaka, Bangladesh. Photo practitioners are invited to submit work online and offline following the guidelines available from the festival website www.chobimela.org.
â€œIn a gendered world fragility is not macho enough,â€ says Shahidul Alam, Festival Director. Â â€œIn a misogynic industry, to pause is to be effeminate. Where sex and violence are the opiates we are fed on, quieter moments do not even make the ‘B roll’. â€¨
The call of Chobi Mela VII is to seek those fragile fleeting moments, to record the nuanced lives we all live â€“ â€œan unraveling strand of humanity bending against the onslaught of invasive culture; the frail existence of a marginal farmer eking out a living in the shadows of engineered genes; communities holding out against the rising tide of modernity; Lost languages, vanishing cultures, disappearing forests. â€¦ In an economy gasping for breath, in an ecosystem reeling under consumption, waste and the ravages of war, the greed of a few threaten the future of many,â€ Alam says. The festival challenges artists to push back the tide of unbridled growth and lay their stake to a sustainable universe.Â
“The brilliance of Chobi Mela persistently emerges as a near contact sport between the past and the future, old and young,” said Chris Riley, US media innovator, and formerly head of planning in the Graphic Design Group at Apple, Inc., and a speaker at the 2011 festival. “The overwhelming sense of Chobi Mela VI in Dhaka, Bangladesh, in Asia at the beginning of what has been described as the Asian Century is one of potential. Huge creative potential, the potential to change the narrative of the global community, recast its mythologies and restate its essence. From Dhaka the stories must be different; they must be from a different perspective and in a different form. This is the Chobi Mela challenge: to emerge into the world and change it.”
Chobi Mela VII in 2013 will be an important step towards meeting this challenge.
See Guidelines: http://www.chobimela.org/index.php/site/page?view=about
Online Application: http://www.chobimela.org/applicants/create
Secretariat, Chobi Mela
C/O Drikâ€¨House 58, Road 15Aâ€¨Dhanmondi, Dhaka 1209, Bangladeshâ€¨
Tel: (880-2) 9120125, 8123412, 8112954 â€¨
chobi mela vii
international festival of photography bangladesh, 2013
Submission Deadline: 31 July, 2012
The sweeping gestures of photography have thrived on extremes. Great things, epic moments, the wretched, the vile, the dispossessed, the celebrated and the trodden, have all found themselves facing the lens. Photography has exalted suffering, celebrated the vain. Quiet moments, reflective spirits, the hesitant step, the furtive glance have rarely made headlines. Perceived as being unworthy of the shutter.
The shutter speed of 125th of a second reserved for momentous slices of time, never slows down enough to listen to the sighs of the silent. Photography therefore is a selective witness. The history it records, a filtered history. It is a filtration different from the dominant narrative of the victor that history has been guilty of. This is more insidious, as it seeps into the very core of our consciousness. I smile for my grandma’s camera. The photojournalist waits for my tear to drop. The moments in between go unrecorded. A staccato history of grand gestures and seminal moments fails to record the nuanced lives we all live.
The medium has been digital all along. The black and whites of photography has largely failed to register the grey ambiguities of the human panorama, the binary perceptions that shape photographic vision failing to respond to subtlety. The everydayness of our lives with its tapestry of emotions, too plain to register amongst the dramatic peaks and troughs that photography has been measured by.
It is only through fissure that fragility has registered. It is only on being trampled that the delicate has been lamented. The staunch pillars of photography have rarely let light through the cracks. The frailty of a lost thought, the uncertainty of the first touch are the insignificants that a camera passes by. The fragility of a tortured earth, the slow death of a glacier, the disappearance of the honeybee, too slow a change to register in 125th of a second.
In a gendered world fragility is not macho enough. In a misogynic industry, to pause is to be effeminate. Where sex and violence are the opiates we are fed on, quieter moments do not even make the ‘B roll’. A sob too insignificant to register on a megapixel sensor.
We look for those fleeting moments. A gossamer of gentle thoughts billowing in turbulent winds. An unraveling strand of humanity bending against the onslaught of invasive culture. The frail existence of a marginal farmer eking out a living in the shadows of engineered genes. Communities holding out against the rising tide of modernity. Lost languages, vanishing cultures, disappearing forests, all entwined by a vulnerability, familiar to those who resist market forces.
In an economy gasping for breath, in an ecosystem reeling under consumption, waste and the ravages of war, the greed of a few threaten the future of many. We challenge you to push back the tide of unbridled growth and lay your stake to a sustainable universe. It is only by embracing the fragility of this world that you will make it your own.
Congratulation mountaineer Wasfia Nazreen And Nishat Mazumder. We are proud of you…
Bangladeshi woman mountaineer Wasfia Nazreen conquered the summit of the Mount Everest early Saturday as part of her ‘Bangladesh on Seven Summits’ campaign, one of her associates said.
Wasfia, 29, reached the highest peak of the Mount Everest at 6:41 am, associate Korvi Rakshand told bdnews24.com in an email.
This is for the first time a solo Bangladeshi woman with no other team members has led an expedition to the top of the world after she started her journey on March 26 to mark the Bangladesh’s 40th year of independence.
Her victory came within a week of Nishat Mazumder’s expedition to the world’s tallest mountain as the first Bangladeshi woman.
Nishat had ascended to Everest’s 8,850-meter-high (29,035-foot-high) summit on May 19 from the northern side of the mountain in Nepal with M A Mohit, the second Bangladeshi to have conquered the Everest.
The indomitable Wasfia on Saturday reached the South summit with American guide Chris Klinke and two sherpas Nima Gyurme Dorje and Kusang Sherpa, according to the expedition’s Facebook fan page ‘Bangladesh On Seven Summits’
Rakshand said Wasfia called from her satellite phone from the Everest summit immediately after she got there.
“We got our independence, but we, women, are still fighting for freedom. This is to the women of Bangladesh who brave their lives everyday for freedom, peace and equality,” Rakshand quoted Wasfia as saying.
As part of the Bangladesh on Seven Summits campaign, she has successfully complete two continents, the previous one being Aconcagua, the second highest of the Seven summits and the highest point outside the Himalayas.
On Dec 16, she reached the near-seven kilometer peak of Aconcagua in Argentina.
Wasfia had dedicated that victory to the struggle of the martyrs of 1971, calling on greater recognition for the contribution of the women who had participated and suffered in the War.
Musa Ibrahim, the first Bangladeshi to reach the highest peak, congratulated Wasfia in a Facebook post.
“She did it, many congratulations to Wasfia. Again, I am saying, this is (the) time for the women of Bangladesh. They rocked and proved: YES, WE CAN DO IT,” he said.
Wasfia’s 2012 Everest trip was sponsored by Bangladesh’s Citybank Ltd as the lead sponsor, and Renata Ltd and Kazi Farms Ltd as co-sponsors. The expedition was supported by Nepal Tourism Board (NTB), Himalayan Climate Initiatives (HCI) and Nepal’s Everest Women’s 7 Summits Eco-Action Team (EW7SEA).
Wasfia started ‘Bangladesh on Seven Summits’ foundation in July 2011. As part of this effort, she has already climbed Mount Kilimanjaro in Africa.
The award includes a 10,000 euros grant and the production of an exhibition during the 5th edition of the Photo Levallois festival.
Open to a less-than-35 year old artist at the most on October 5th 2012.
Application deadline to June 9, 2012
Festival from October 5 to November 17, 2012
The Angkor Photo Workshops is back for the 8th year — and is now officially accepting applications!
Held annually in the beautiful town of Siem Reap, Cambodia, the Angkor Photo Workshops was created in 2005 and is offeredFREE to selected young photography talents from Asia. The week-long professional photography workshop provides participants with firsthand training, invaluable exposure, and a chance to develop their personal photographic style and vision. Over the years, the workshop has highlighted emerging talent from the region, and many previous participants are now pursuing successful photography careers.
To find out how to apply, download these two forms:
- Download the Call for Applications (pdf)
- Download the 2012 Application Form (doc)
* To download these documents, right-click on the link and select ‘Save Link As’
Or check out our “How to Apply” page for a permanent post with details about the applications.
The dates for this year’s workshops are December 1 – 8, 2012. Over the next few months, the workshops team will be selecting around 30 participants from all over Asia. All applicants will receive a reply from us by the end of August!
Watch out as the 8th Angkor Photo Workshops will open for applications on May 15th.
The Angkor Photo Workshops are an annual free professional photography workshop for young Asian photographers. Held each year in Siem Reap, Cambodia, 30 specially selected participants will be tutored by international photographers who volunteer their time to be a part of this initiative.
We are really excited to find out who will be joining us this year for the workshops — stay tuned for more news and information on how to apply!
If you haven’t already done so, there’s still time to get your submissions in for the 8th Angkor Photo Festival. Do it soon – the deadline is coming up on May 31st!
(Link: How to Submit)
We’ve already been overwhelmed by the submissions received so far, but we’re ready for the flurry of entries that always comes in as the deadline approaches!
We will also soon be updating you about Andri Tambunan’s ongoing project in Indonesia on the under-reported HIV/AIDS epidemic in Papua. Andri was the winner of the inaugural Reminders Project Asian Photographers Grant, and his work will be exhibited this year at the 8th Angkor Photo Festival.
Check out some of his work here if you haven’t already seen it!
After discussions with the Reminders Project – our collaborator on the grant – we have all decided to develop the impact of the grant, and will be making the Reminders Project Asian Photographers Grant a bi-annual event. We will be opening again for applications in 2013!
Holden Street, North Adams, Massachusetts, July 13, 1974
Few teenage boys possess the confidence to approach a pretty girl, let alone the courage to court the Museum of Modern Art. But in 1961, Edward Steichen-the director of MoMA’s Department of Photography at the time, and a revered photographer in his own right-received a phone call from an optimistic fourteen-year-old, by the name of Stephen Shore. ‘I think I didn’t know any better,’ Shore explains today, ‘I didn’t know that you weren’t supposed to do this. So I just called him up and said, ‘I’d like to show you my work.’…He bought three!’
Such was the beginning of Stephen Shore’s illustrious photographic career, and only the first of many enviable twists and turns within its course. By the time he was seventeen, Shore was already an emerging member of New York’s thriving Conceptual and Pop art scenes, and inevitably, he crossed paths with Andy Warhol. At their first meeting in 1965, Warhol was so impressed by the young photographer, that he offered him an open invitation to visit the infamous Factory. Over the course of the following two years, Shore turned up at Warhol’s door nearly every day, camera in hand, and by the end of 1967, he had compiled one of the most comprehensive photographic documentations of the artist’s studio, and the scene surrounding it, during its most innovative years. Furthermore, inspired by Warhol’s impressive work ethic, Shore also continued to pursue his own artwork, frequently showing both his photographic and conceptual projects at the renowned Light Gallery. His youthful passion, talent, and determination quickly caught the attention of the curatorial elite, and in 1971-at the tender age of twenty-four-Shore was given the unique honor of being the first living photographer to have a solo exhibition at New York’s Metropolitan Museum of Art.
Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975
Yet, despite his early success, Shore had experienced very little of the world outside of his native New York City. In 1982, he wrote, ‘Until I was twenty-three, I lived mostly in a few square miles in Manhattan. In 1972, I set out with a friend for Amarillo, Texas. I didn’t drive, so my first view of America was framed by the passenger’s window. It was a shock.’ Later that year, Shore set out again across America, this time alone, with an insatiable desire to capture and communicate precisely what he had seen within the frame of that window.
Intent on exploring both the country, and photography itself, through the eyes of an everyday tourist, Shore elected to record the trip on 35mm color film, and brought along his Rollei 35, an early precursor to the ‘point-and-shoot’ cameras of today. He entitled the project ‘American Surfaces’, literally emphasizing the superficial nature of both his brief encounters whilst on the road, and the underlying character of the images that he hoped to produce. With such an easy-to-use camera at hand, Shore photographed relentlessly. ‘In American Surfaces, I was photographing almost every meal I ate, every person I met, every waiter or waitress who served me, every bed I slept in, every toilet I used. But also, I was photographing streets I was driving through, buildings I would see. I would just pull over and say, ‘Okay, this is a picture I want.”
2nd Street East and South Main Street, Kalispell, Montana, 1974
Shore returned to New York triumphant, with hundreds of rolls of film spilling from his bags. In order to remain faithful to the conceptual foundations of the project, he followed the lead of most tourists at the time, and sent off his film to be developed and printed by Kodak’s labs, in New Jersey. Thrilled with the results, Shore secured the back room at the Light Gallery, and plastered three of its walls with a tightly-knit grid of small, glossy prints, barraging his audience with a photographic wallpaper of what seemed like amateurish, color snapshots. Despite Shore’s insistence that the work’s conventional aesthetic was entirely intentional-and was, in many ways, the essence of the project itself-the exhibition received poor reviews. Even the most open-minded curators and critics of the time, such as John Szarkowski, questioned Shore at length about his artistic methods, suspecting that the semi-automated camera may have been responsible for the success of the work, rather than the photographer’s own artistry.
Fortunately, Szarkowski’s harsh criticism only fueled Shore’s determination, encouraging him to refine, rather than abandon, his initial creative impulse. At first, he suspected that if he were to make larger hand-made prints, he might convince others of the relevance of the work. But he soon realized that his negatives just weren’t up to scratch. ‘I found that the film just wasn’t good enough to support an 8′x10′ [print] even. It was just ridiculously grainy.’ Refusing to concede, Shore finally settled upon his only option; ‘I needed to go to a larger negative.’
Such was the impetus behind one of the most celebrated, imitated, and influential bodies of photographic work produced during the last forty years; Stephen Shore’s ‘Uncommon Places’. From 1973 to 1981, Shore frequently returned to the roads of North America, initially with a 4′x5′ press camera, and eventually with an 8′x10′ view camera. At first, his intention was to simply recapture ‘American Surfaces’-again, in full color-but this time, using better equipment. Yet almost immediately, Shore discovered that this new equipment forced him to photograph in an altogether different way. Because of the bulk of the large-format camera, the time that it took to set up, the expense of the sheet film, and the fact that it required a tripod, Shore found that he could not shoot as casually as he had in ‘American Surfaces’. But, as Shore explains it, these restrictions simply encouraged him to improve his working methods. ‘The view camera forces conscious decision making. You can’t sort of stand somewhere; it is exactly where you want to be… So what happens is that you develop a kind of taste for certainty.’ At the same time, Shore discovered another important advantage of the larger negative; what he refers to today as its ‘surreal density of information’. Essentially, he deducted that during the twenty minutes it took him to carefully arrange one photograph, he was forced to process a large amount of information; but with the simple click of the shutter, all of that information was instantaneously condensed into an incredibly saturated and detailed image, which took the viewer only seconds to comprehend. Therefore, he no longer needed to explain himself too obviously or explicitly-he could complicate his photographs. ‘Especially if I’m photographing an intersection, I don’t have to have a single point of emphasis in the picture. It can be complex, because it’s so detailed that the viewer can take time and read it; they can pay attention to a lot more.’
Broad Street, Regina, Saskatchewan, 1974
Throughout the 1970′s, Shore exhibited hundreds of successful images from ‘Uncommon Places’, finally receiving rave reviews for his efforts. But by 1981, he felt that nearly all of the creative questions behind the project had ultimately been answered, and to avoid repetition, Shore valiantly put an end to the series. After gathering together his contact prints, he approached the Aperture Foundation in the hopes that they might publish a monograph of the entire body of work. They agreed to back a book, but unfortunately could only offer him a limited budget, and Shore was forced to whittle the series down to a mere forty images.
Surprisingly, Shore chose to edit out most of the photographs that alluded to the initial influence ‘American Surfaces’, and the underlying autobiographical nature of his work. Other than several seemingly incongruous images-such as a stunning portrait of the photographer’s wife, or a extremely frank still-life of his pancake breakfast-Shore chose a set of photographs that coolly focused on the American landscape, and its transformation at the hands of twentieth-century consumer culture. Domineering edifices loom high within these photographs, invasive roads often divide the frame; oversized billboards fill the skies, and brightly colored cars roam freely throughout the land. From Shore’s point of view, even the seemingly irrepressible grandeur of Yosemite-so famously celebrated and romanticized in the photographs of Ansel Adams-had been humbled by families of pale, invasive tourists.
In 1982, a slender yet hugely impressive version of Uncommon Places was released. Its impact was felt almost immediately, forever changing the course of art photography, and securing Stephen Shore a place within the canon of photographic history. Today, there is little doubt that Uncommon Places remains a classic. Still revered throughout the international photographic community, it has, in many ways, influenced how we have come to define ‘art photography’ itself. Firstly, it introduced large-format color photography into the artistic arena. Previously this technical genre had been reserved for commercial work, but today, it has become almost ubiquitous throughout contemporary art galleries and museums around the world. Secondly, it established a number of subjective and stylistic links to the long-standing tradition of large-format, documentary photography. In the same way that Shore drew inspiration from the work of his predecessors-the attentive formalism and rich detail of Eugene Atget, the straight-forward manner and fondness for the American vernacular of Walker Evans-many of today’s photographers use Uncommon Places as a crucial source for their own imagery. For example, Thomas Struth’s first book was entitled Unconscious Places, as an homage to Shore’s masterpiece. And as often as one sees a Shore-like palette in the photographs of Thomas Struth, one can also discern the underlying influence of Atget and Evans’ perspective, having been filtered through the color work of Stephen Shore.
Yet, despite the importance of the original Uncommon Places, its forty plates offered a very limited look at the scope of Shore’s overall accomplishment during a remarkably prolific nine-year period. When one looks at the book carefully, and with the diversity of the entire project in mind, one gets the distinct sense that something has been left out; or to be more accurate, that these forty photographs represent only the tip of an iceberg.
In recent years, there has been a massive resurgence of interest in color photography’s pioneers, culminating in many high-profile exhibitions, and the reissuing of seminal books that have long been out of print, such as William Eggleston’s Guide. Last spring, Andrew Hiller-an up-and-coming editor at Aperture-approached Shore with an offer to not only reissue Uncommon Places, but to publish the work in its entirety, as Shore had always intended. Shore was elated, and for months, he and Hiller poured over thousands of long-forgotten negatives, attempting to recover the complexity of the original project. Along with the original forty plates, they eventually agreed to include nearly one-hundred additional photographs, some of which had never even been printed by Shore in the first place, let alone been seen by a wider audience. Finally, more than thirty years after the project was first embarked upon, Uncommon Places: The Complete Works is due to be released, in May 2004.
Shore is quick to point out that the new book is not meant to diminish the importance of the original Uncommon Places. ‘I’m not turning my back on that work. It’s all included in the new edition. It’s just that the original ought to have been twice the size to include other stuff…It just wasn’t the complete project.’ Like the original forty plates, many of the additional photographs reiterate Shore’s masterful treatment of both photographic space, and the twentieth-century American landscape. But The Complete Works also features a surprising number of previously unseen interiors, still-lifes, and portraits, which point directly to the important influence of Shore’s earlier project, ‘American Surfaces’. Shore’s own motel rooms, and their various accoutrements-garish paintings, shag rugs, brightly upholstered furniture, and clunky television sets-are featured throughout this new edition. Furthermore, there are three additional portraits of Shore’s wife, as well as one of her father, two self-portraits of the photographer himself (one in which he stares blatantly into the camera, and another in which he appears as a pair of disembodied legs, placed casually across a motel’s green bedspread), and many more images of strangers, whom Shore simply stopped on the street. Amazingly, when one compares the limited scope of the original Uncommon Places with the added diversity of The Complete Works, one realizes that the project itself manages to retain its consistency in both versions, but for different reasons altogether.
Because of the apparently unsentimental nature of the forty original plates, Uncommon Places has often been characterized as ‘formal’, ‘clinical’, ‘objective’, ‘impersonal’, or ‘dispassionate’. Shore is careful not to reject any of these labels, understanding that they only serve to invest the work with even more sophistication, and help others to appreciate it within their own aesthetic ideologies. Yet, looking at The Complete Works, one recognizes that below the coolly objective facade for which Uncommon Places is so well known, lies a deeply personal record of the photographer’s nine-year journey within the photographic medium itself. ‘In a way, it’s in this funny position of being a diary,’ Shore explains, ‘But it’s a diary of a life geared to making photographs. It’s a diary of a photographic trip. It’s things I’m encountering, but for the sake of encountering them… I don’t expect someone to look at this and have any particular sense of what I did in my life. But what [Uncommon Places] is really about, is my explorations, my travels, through looking.’
Ultimately, Shore’s new book finally reveals that this extensive body of work has always essentially been a photographic autobiography-an autobiography of seeing. In the words of Walker Evans, ‘The matter of art in photography may come down to this: it is the capture and projection of the delights of seeing; it is the defining of observation full and felt.’ Uncommon Places: The Complete Works offers the viewer a unique opportunity to share Shore’s revelry in the ‘delight of seeing’, and to travel with him as he gradually refines his photographic dexterity, transforming his acute observations into fine art.