Horses and jockeys, off course. But there would be no races without starters. They assist the jockeys in loading the horses into the boxes and they help calming some nervous horses. Here are e few images from yesterdays races, and some of the starters at Bro Park. It is always such an inspiration to go there.
First, the races.
And now some starters.
๐ ๐ ๐ย Pelle
And photography still changes lives! ๐ย Pelle
http://www.bbc.com/news/in-pictures-43031764
Twenty-four photographs from the Lewis Hine archive have been auctioned in New York. The rare prints were from the collection of the late New York photographer Isador Sy Seidman.
American sociologist Hine was one of the most important documentary photographers of the 20th Century. Because the notion of photojournalism and documentary did not exist at the time, Hine called his projects “photo stories”, using images and words to fight for the causes he believed in.
The prints span Hine’s career and many are from his most well-known projects, centring on the poor and disadvantaged from the Carolinas, New York and Pittsburgh.
All photographs courtesy of Swann Auction Galleries.
The above image: Hot day on East Side, New York, 1908.
I found these photographs in BBC.
That I donยดt often get too impressed by photography that I see. But this is just wonderful. I think! ๐ย Pelle
At Sundance Film Festival, photographer Victoria Will had just minutes with some of Hollywoodโs most famous actors and directors โ arguably, some of the most photographed people in the worldย โ but she chose a processย that at its core is imperfect:ย tintype.
Theย 19th century wet-plate photography process predates film. There are no negatives, no large digital files or multiple frames, and no do-overs. Each image is one of a kind.
It starts in the darkroom, where each plate must be coated by hand with light sensitive emulsion. The exposure starts with a comically blinding amount of light, which is reflected off the subject into the camera lens and onto the aluminum plate still wet with emulsion. Any dry patches will remain undeveloped. It is an unforgiving medium. It also makes each image undeniably unique.
โI love thatย when you make a tintype you are making a thing, aย physical photographic objectย โ oneย that you can hold and experience in aย different way,โย Will told In Sight.ย โBut I also love theย finicky natureย of theย chemistry.ย Each plate is one of a kind. In the digital age these twoย aspects of the medium really inspire me.โ
On one of the last pages of the book is a quote from Walker Evans: โThe eye traffics in feelings, not in thoughts.โ When asked, Will said it sums up what she loves and why she is so drawn to photography. โA successful image for me is one that makes you feel. It needs to touch you in some way,โ she said. โI think unconsciously, and clearly articulated by Evans here, photographers are moved by emotion. Thatโs what is actually pushing the shutter.โ
A few tips for your camera excursions as winter is coming and snow is painting the world in white. Or gray and brown as it is in some places… I found it in on BBC.
http://www.bbc.co.uk/newsbeat/article/42310311/how-to-take-the-perfect-snow-snap
If I shoot 24×36, 6×6, 4×5″ or any other format, 9 times out of 10 I compose and fill the full frame. Just a way I started many years ago and just a way I still work.
From yesterdays races at Bro Park. Enjoy!
๐๐๐ย Pelle
Some like to get their faces dirty. Like some jockeys. Yesterday was an evening on the dirt track, and though it was really dirty there was a very friendly and good atmosphere. Many of them realised the situation and my interest in their dirt covered faces. I think they really enjoyed it. However the evening races are tricky with the flood lights. I am looking forward to another day race soon.
๐๐๐ย ย Pelle
On a photographers mind 