Kyoto Station

There is a special place in my heart for train stations. I could easily spend several hours getting lost in the movement and variety of life. An intersection of countless lives which collide and drift apart endlessly. What is a daily commute or a means to reach an end for most is a flourishing hot spot for life and activity that never ceases to inspire me.

Kyoto Station was a massive interchange to explore and late one night we wandered beyond the turnstiles to find a sparse platform begging for a quick photo. Looking back on the image now I catch myself coming up with stores for those waiting patently for a train to arrive. A modest moment, sure, but one that I found myself getting lost in this evening, two years later. I thought surely there are others here that may enjoy it as well.


Making Flickr Fully Responsive

After nine years of diligent service, it’s time for us to bid adieu and say hello to the mobile-ready!

The mobile web has come a long way since we first introduced, and nowadays there are better ways to build web pages for mobile devices. In fact, the pages we’ve redesigned in the last few years have been mobile-ready from day one. Streamlining the existing mobile pages lets us improve and enhance our mobile web experience at a much quicker pace.

Screenshot 2017-04-04 17.01.26.png Screenshot 2017-04-04 17.04.15.png

With this update, when you visit Flickr on a mobile device, you will now see all the pages you would have accessed through the pared down as a fully responsive experience. Instead of small thumbnails and text-heavy pages, you’ll get a much nicer layout scaled to fit your device. All of your old bookmarks should work normally, as should links around the web. Anything anyone shared with you over time will remain intact and function as intended.

Screenshot 2017-04-04 17.09.44.png

We hope you’ll like the new mobile experience and we invite you to share your feedback with us in the Help Forum.


Shopping in Surrealism

As part of her 365 days self-portrait project, Philippine-based photographer Katrina Yu creates conceptual photographs inspired by the whimsical illustrations and stories of her favorite books. Sketching and shooting are her way to escape from the constrictions of ordinary life.

“I do everything myself. That’s why I struggled for two months when my [camera] remote broke. Manual self-timer shooting is very hard,” said Katrina, who admitted this 365 photo challenge has been an “eye-opening, self-learning process.”

By pushing herself to produce quality work, Katrina has learned a lot about the technical side of photography. She uses Photoshop to turn her artistic vision of a particular theme into a surrealist scene that often contains some hand-crafted elements too, like drawings and origami figures.

“I like looking at something and imagining what would make it pop out from the ordinary.”

271/365 Lead
218/365 Cry, Heart, But Never Break
237/365 Night Terrors

Katrina says the most significant image she has created so far is Before you turn to stardust [209/365].

209/365 Before you turn into stardust

“I dedicated this picture to one of my closest friends, who passed away that day. I shot this right after I received the news, and was in shock the whole day. I think this shot solidifies my love with surrealism. It’s like being able to do the things that you want to do in a parallel universe.”

Less than a hundred days away from completing her project, Katrina doesn’t see her image number 365 as the end of her Flickr adventure. She loves the support she’s gotten from the community. “I just want to turn my ideas into something tangible and feel alive in the process.”

229/365 Stealth - Voyeur V
183/365 The worlds between pages

Explore more of Katrina’s work on her Flickr Photostream and let her know which of her photos is your favorite with a comment.


David la Chapelle: an interview about his latest exhibition: “Lost+Found”.


[dropcap type="1"]W[/dropcap]e have been in Venice for the latest exhibition of the American photographer David la Chapelle. "Lost+Found", is the title of the exhibition, taking place at "Casa dei Tre Oci" in Venice, is running till september. Go and check it out the show! We liked it so much.

Venezia / Tre Oci
12.04. > 10.09.2017
Tre Oci
Giudecca 43, Venezia  fermata / stop
Orari / Hours
tutti i giorni / everyday
10.00 – 18.00
chiuso martedì /
closed Tuesday



The post David la Chapelle: an interview about his latest exhibition: “Lost+Found”. appeared first on Positive Magazine.


On the Edge of the American Dream

How have West Coast photographers subverted the mythology of California?

By Will Matsuda

John Divola, Untitled (woman watering, striped top), 1971–73Courtesy the artist and Gallery Luisotti, Santa Monica

John Divola, Untitled (woman watering, striped top), 1971–73
Courtesy the artist and Gallery Luisotti, Santa Monica

When most people hear “Golden State,” they think of sunshine and Stephen Curry, but curator Drew Sawyer was thinking about the 1940s internment of Japanese Americans during World War II. He was also thinking about how photographers, since the 1970s, have challenged romanticized images of California. Currently on view at Marianne Boesky Gallery, his group exhibition Golden State includes photographs by Anthony Hernandez, Catherine Opie, Larry Sultan, and other California-based artists. At a moment when California is being heralded as a leader of “the resistance,” these photographers focus on various marginalized communities, demonstrating how not all Californians have access to a utopic, liberal vision of the Golden State. People there are still struggling to be recognized as citizens, to feel like they belong, and to survive.

Christina Fernandez, Lavanderia #11, 2003Courtesy the artist and Gallery Luisotti, Santa Monica

Christina Fernandez, Lavanderia #11, 2003
Courtesy the artist and Gallery Luisotti, Santa Monica

Will Matsuda: Why an exhibition about California? Why now?

Drew Sawyer: When the gallery asked me to organize a show, it was the day after the presidential election. I knew I wanted to do something that was timely but that wouldn’t feel dated by the time it opened in April. Already within the first week after the election, California was emerging as a state of resistance. There was talk of “Calexit.” In recent years, the state seemed to have become this liberal bastion. But many conservative movements have originated in California, and one would only have to go back ten years to when the state attempted to ban same-sex marriage.

Catherine Opie, Flipper, Tanya, Chloe, & Harriet, San Francisco, California, 1995Courtesy the artist; Regen Projects, Los Angeles; and Lehmann Maupin, New York and Hong Kong

Catherine Opie, Flipper, Tanya, Chloe, & Harriet, San Francisco, California, 1995
Courtesy the artist; Regen Projects, Los Angeles; and Lehmann Maupin, New York and Hong Kong

California, in some ways, represents the country as a whole, and also the country’s ideals. Many of our ideas of California, influenced by Hollywood shows like HBO’s Big Little Lies, have to do with an idealized vision of the American Dream. So I was particularly interested in the contradictions of the state. California has one of the largest economies in the world, and it has one of the greatest number of billionaires. At the same time, it has the highest rate of poverty in the country. It felt necessary to think about these polarities, since the country is so polarized right now.

From an art historical standpoint, the state also seems relevant because many of the California photographers I ended up selecting have had major survey shows in the last few years: Anthony Hernandez at SFMoMA in 2016 and Larry Sultan at LACMA in 2014 (and now currently at SFMOMA). But neither of those shows have travelled to the East Coast. Neither of those artists even have commercial galleries that represent them on the East Coast. It seems like the perfect time to bring this work to New York.

Anthony Hernandez, Rodeo Drive #19, 1984 © the artist and courtesy Galerie Thomas Zander, Cologne

Anthony Hernandez, Rodeo Drive #19, 1984
© the artist and courtesy Galerie Thomas Zander, Cologne

Matsuda: The title, Golden State, evokes the usual California connotations: sun, surfers, and LA. But the exhibition seems to attack these romanticized visions straight on with images portraying the hardships endured by Latino day laborers, Japanese Americans facing internment, and other marginalized identities. What were you looking for when you were selecting photos?

Sawyer: I wanted to complicate that idea of California, the one that gets represented so often. You mentioned the Dorothea Lange photographs of the internment of Japanese Americans, and those really were the inspiration for the exhibition. This spring is the seventy-fifth anniversary of the internment. In 1942, the federal government commissioned Lange to document the process of interning over 100,000 Japanese and Japanese Americans. Even before she started photographing the roundups and the camps, Lange photographed Japanese Americans in their homes and at their workplaces. The mandatory internment announcement had already been made, so the people in these photos knew what was coming and knew what they would be forced to leave behind: their homes, their businesses, their jobs, their college educations. Those are the photographs I ended up choosing. In some ways, I think they are the most subversive because Lange really showed the degree to which these individuals were truly American and so fully integrated into the economy and American society.

Dorothea Lange, College students of Japanese ancestry who have been evacuated from Sacramento to the Assembly Center, Sacramento, California, 1942Courtesy National Archives

Dorothea Lange, College students of Japanese ancestry who have been evacuated from Sacramento to the Assembly Center, Sacramento, California, 1942
Courtesy National Archives

Matsuda: I know this history because I am Japanese American and I know Lange’s work. But for people walking into the gallery, the context of internment is not entirely clear. A suburban family poses on a manicured lawn, or two hip guys strike a pose for the camera. There are no captions to explain that these were taken right before their entire communities were uprooted and imprisoned. Don’t you think these kinds of photographs need context?

Sawyer: I did think about that, but of course commercial galleries don’t usually have wall labels, so the full captions are on the checklist and in the accompanying catalog. In the end, I also wanted the show to be beautiful, to be visually enticing, and I think those contradictions are even more interesting. I could’ve shown work that was more explicitly about internment, but I selected a series of portraits that felt more cohesive with the rest of the exhibition.

Matsuda: Right, your focus is on people. But, another common vision of California is the grandeur of the landscape—places like Big Sur and Yosemite.

Sawyer: The landscape, particularly the suburban landscape, does appear. When you think of California photography, you may think of Ansel Adams or nineteenth-century photographic surveys of the landscape. But for me, that is a separate tradition. Since Lange was my starting point, I really wanted to look at images that examine California’s economic systems, and that might be more rooted in cultivated landscapes than in natural ones.

Buck Ellison, Pasta Night, 2016Courtesy the artist and Park View, Los Angeles

Buck Ellison, Pasta Night, 2016
Courtesy the artist and Park View, Los Angeles

Matsuda: John Divola, Buck Ellison, and even Larry Sultan’s images feel quite suburban. What is it about this setting that makes it a productive backdrop for the exhibition?

Sawyer: I think the idea of suburbia and California are linked with the American Dream. Even looking through the current issue of Aperture, “American Destiny,” a lot of the photographers or photographs are actually from California. But each of those photographers gives a very different picture of suburbia. In John Divola’s work from his San Fernando Valley series, from the early 1970s, there seems to be a certain sense of postwar conformity in the pursuit a middle-class life. I chose several images of people watering their lawn. They are comical but also a bit sad.

Buck Ellison, the youngest photographer in the show by far, has a very different portrayal of suburbia. He’s concerned with depicting a very specific elite, white culture—not the middle class. And to me, his work provides a really interesting dialogue with Dorothea Lange’s photographs. While Lange’s photographs show the failure of liberalism in the face of war, Buck’s photographs seem to capture how certain progressive or liberal ideals have not only succeeded to some extent but also become commodified into identities, brands, and luxuries. In Buck’s staged photograph of the gay couple making pasta, it’s sort of like, “Oh, they’ve won their equality, and now all they want to do is make homemade pasta with their expensive culinary equipment in their beautiful suburban kitchen.”

Larry Sultan, Canal District, San Rafael, 2006 Courtesy the Estate of Larry Sultan, Casemore Kirkeby Gallery, San Francisco, and Galerie Thomas Zander, Cologne

Larry Sultan, Canal District, San Rafael, 2006
Courtesy the Estate of Larry Sultan, Casemore Kirkeby Gallery, San Francisco, and Galerie Thomas Zander, Cologne

A lot of Sultan’s work also has to do with home and suburbia too, especially the San Fernando Valley where he grew up. I chose work from Homeland (2006–9) partially because it was his last show and he hasn’t had a show in New York since he passed away in 2009. He shot the work in Marin County, a wealthy and liberal enclave just north of San Francisco where Buck Ellison happens to be from. I thought the series also provided another conversation with Lange’s photographs, since he hired immigrant day laborers to act out scenes in these sort of interstitial suburban spaces, like fields and creeks between housing developments. He made the series both before and after the subprime mortgage crisis, so the landscapes probably took on new meanings for him. And these images of immigrants walking in fields probably take on new meanings for us today. I hope the show provides a variety of perspectives on suburban lifestyles.

Matsuda: And who has access to it.

Sawyer: Exactly.

Will Matsuda is the Social Media Associate at Aperture. Drew Sawyer is the William J. and Sarah Ross Soter Associate Curator of Photography at the Columbus Museum of Art and the Arts Editor at Document Journal.

Golden State is on view at Marianne Boesky Gallery, New York, through April 27, 2017.

The post On the Edge of the American Dream appeared first on Aperture Foundation NY.


Trillium Talk Tonight

Tonight, I am addressing the Trilllium Photographic Club on the subject of “Composition and Light”. See if you want to be there!

The Trillium Club is an outstanding club, whose members range from total beginner to established pro.

East Plains United Church, Pearl Hall,375 Plains Road East, Burlington, ON L7T 2C7




7 Dials in London

See you in London soon!

Don’t forget to A) Sign up for the London Photo Walk (Free) and B) Sign up for the special day-long workshop (not free but more than worth it!).

Warming up the Quad

If you’re a Passport member, you can see a 360 story of me testing out the Phantom 4 Pro + on a cold New Zealand morning here… making sure it’s ready for the big Europe Trip!

Passport Member-Only Content
Click here to learn how to unlock this content plus many other amazing member benefits.

Daily Photo – 7 Dials in London

Speaking of quadcopters, here’s one of my favorite photos from London at this famous street where seven roads come together. I flew this one with my friend Stu. I was using the HUGE Inspire drone… it’s really much too massive and ungainly! After I got it set up, I had to go through this very time-consuming IMU calibration… thought it would never end… but I finally got it up in the air to take this photo!

7 Dials in London

Photo Information

  • Date Taken2015-02-18 03:42:29
  • CameraFC350
  • Camera MakeDJI
  • Exposure Time1/270
  • Aperture2.8
  • ISO100
  • Focal Length3.6 mm
  • FlashNo flash function
  • Exposure ProgramUnknown (58655)
  • Exposure Bias-0.656


conquering oral aversions {cleft lip/palate}

It has been quite a while since I did any updates here related to my youngest daughter’s eating challenges. I posted a little something on Instagram last week and thought I should write more here. I know many of you have kiddos with similar struggles and it is helpful to hear you are not alone.

When we arrived in China (almost 5 years ago), I thought she would try new foods pretty quickly. She didn’t.

I thought once she was settled in at home, she’d be ready. She wasn’t.

After several months of no progress, I joked that I was sure she’d eat a hamburger by the time she was 16.

And then years passed. Smoothies and mashed food for nearly 4 years. I stopped joking she would eat pizza one day and came to terms that it was just fine if she never did.

And then things changed. In some ways I look over at her now – eating a turkey sandwich – and I think, “Wow, all the sudden she is eating food with is!”

Aprilfood-01The thing is – she isn’t all the sudden eating with us. It has been years of therapy. Years of getting my hands on anything and everything related to oral aversions. It has been years of second guessing ourselves and wondering when to push and when to back off. She didn’t just wake up one morning and decide to eat a turkey sandwich – it was a long process.

I know there are other parents out there wrestling with similar issues and they are searching for any help. Any answers. Today, I want to share a few tidbits that helped us..hopefully it will help someone else – someone, who like me stays up late scouring the internet for ways to help her child.

Aprilfood-021. Progress was slow. A counselor, who works with kids who have gone through trauma, told us early on that often when a child is making progress in one area, that child will seem to stop making progress or even take steps back in another area. This has been so true for our girl. She made HUGE leaps forward related to physical development soon after coming home. Next, she made some steps forward related to eating. Then eating progress seemed to revert as she tackled speech. Over the last three years, she has made mind blowing progress related to communication. It seemed like as soon as she was right where she needed to be with communication, she was able to start making big strides forward with eating. In the moment, I often did not recognize the different areas she was making progress. It is much easier to see the big picture of it all now.

Aprilfood-042. Progression. The progression that worked best for her was:

  • Getting comfortable looking at food
  • Being okay with food just on a plate in front of her
  • Touching the food on her plate with a spoon
  • Touching the food on her plate with her hands
  • Touching the food to her lips
  • Placing the food in her mouth and then spitting it out
  • Chewing the food, then spitting it out
  • Chewing and swallowing the food
  • Once she was comfortable chewing and swallowing, each day we had her try one bite of something new.
  • Once she could take one new bite a day, we kept increasing the amount until she could eat a meal with us.

I would say each phase took several months. A couple of the phases took an entire year.


3.  Never ‘forcing’ her to eat or try things. I lost count of how many people suggested she was just being stubborn and we were being too easy. Unless you are in the field of oral aversions and childhood trauma (as a parent, counselor, therapist, doctor), I don’t think you can truly understand how traumatic eating can be for a child with very deep fears. It is easy to pass judgement and a lot harder to sit down and really listen to a parent who is walking through difficult stuff with a kid. My girl could only drink smoothies from a special bottle for a few years. I got all kinds of not-so-nice looks from other adults, who saw her drinking from a bottle. Enter Taylor Swift and a constant Shake It Off in my head.


4. We tried a few different methods and read several books, but none were a deciding factor of change. A few that we gleaned wisdom from were Love Me, Feed Me, The Connected Child, Chewy Tubes (these did help her build jaw strength, we tried the Jaw Rehabilitation Program – great suggestion by her speech therapist).

All in all – it took time. It took patience. It took being very intentional and not just giving up. She still struggles. She still doesn’t like to try new food. It still takes patience, being intentional and not giving up. However, she has come incredibly far. I am so proud of her. She is pretty proud of herself too. And she should be!

Aprilfood-06For more posts related to her food journey, visit my Instagram hashtag #mylittlefoodwarrior


Outside the Bus

Speacial Prizes for European Photo Walks!

We have all sorts of great prizes (even if you are not there and just following on the internet) of our European Photo Walk Tour! We have some great online contests and more. And yes, we’ll try to bring the Photo Walk tour to a place near you soon! ?

Daily Photo – Outside the Bus

Believe it or not, when we pulled up to the Washington DC Photo Walk, this was the view outside our tour-bus window! How cool, eh? I remember DC was a big mess (the photo walk went great). But we had no internet, and I was trying to upload all this stuff… so I had to uber all around town to find a good coffee shop. That is one of those things that took hours more than I expected… then I wanted to go for a jog and barely squeezed that in… then I was getting ready for the photo walk and I realized I forgot to eat all day! And this was coming off back-to-back night-to-night photo walks in New York and Philidelphia! This time, in Europe, I’m gonna pace myself a bit better.

Photo Information

  • Date Taken2015-09-08 08:51:42
  • CameraILCE-7R
  • Camera MakeSony
  • Exposure Time1/40
  • Aperture8
  • ISO125
  • Focal Length16.0 mm
  • FlashOff, Did not fire
  • Exposure ProgramAperture-priority AE
  • Exposure Bias-0.3

Related Posts Plugin for WordPress, Blogger...