‘Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.’ - Walker Evans
“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to.”
— Jim Jarmusch
This is the same problem I have with digital photography. The potential is always remarkable. But the medium never settles. Each year there is a better camera to buy and new software to download. The user never has time to become comfortable with the tool. Consequently too much of the work is merely about the technology. The HDR and QTVR fads are good examples. Instead of focusing on the subject, users obsess over RAW conversion, Photoshop plug-ins, and on and on. For good work to develop the technology needs to become as stable and functional as a typewriter. - “Toy Fatigue”, Alec Soth
I tried to do the right thing and trade in my M6 to relieve some of the pressure on my credit card but walked out of Aperture with an M4!
I am totally unrepentant having lusted after one of these camera’s since the late 60s when I started my working life as a lowly messenger on the picture desk of The Times newspaper. I recall stalwart Leica users like staffer Bill Warhurst and the great Neil Libbert of The Observer who chose this camera as their primary tool in a photo-journalism world that was dominated by the Nikon F and Asahi Pentax.