The Marks of Man

2014 New Zealand Landscape Calendar out now. (7 photos) A selection of the thirteen images from the Calendar below. http://johnmaillard.com/New_Zealand_Landscapes-server/viewcategory.php?groupid=24 Only $30.00 nz $10.00pp in NZ, $30.00pp World Wide. A3 on high quality paper, with NZ dates and public holidays. Only 200 hundred printed, each one can be signed on request.  

What if I could be photographed with my father in 1979, and yet be photographed with my daughter and son at the same time. Behind us could be my grandfathers and their grandfathers, the same with my grandmothers. We could all sit together and share a meal after the photographer has photographed himself.

The transition from hunting to farming was most likely managed and executed by women, who discovered that fences protected the crops. This is a true social and cultural change of a magnitude that hasn’t occurred since. Hunting and gathering, to land ownership and crop production for survival, the intervention of spirituality and religion to help, encourage, grow food and build society. The role of magical/spiritual ceremonial landmarks, fences, causeways that would mark the growth of food and the cycle of the seasons. The birth of astrology and astronomy to catalog and understand the turn of time. The use of lines, ditches and causeways to change the fundamental understanding of the world, the ownership and delegation of land and the symbolic use of a boundary. All of these things were inhabited by spirits and gods. Our understanding of the world was profoundly different, we cannot imaging that world, as we have almost no historical context.

If you are making a living from photography, chances are some of your clients have requested all the photos from a shoot or an event, depending on the case. It is a common occurrence that I believe is due largely to a misunderstanding that people have in our work. Some photographers give in and offer all the photographs, the ones straight out of the camera, unedited. Let me assure you, this is a mistake and I will explain why. Continued at: http://www.photographytalk.com/photography-articles/3158-why-a-photographer-should-never-give-a-client-all-the-photos 

1963

Crossing Ashly Gorge Crossing in snow

Snow and Lines

As my house stays damaged, I photograph Ditches and Hedges. Ditch Hedge

Fence Line, Tai Tapu

 In Canterbury, the land is being submerged in water, why? The Bag

What Is Spec Work And Why Is It Bad for Photographers? http://petapixel.com/2013/06/26/what-is-spec-work-and-why-is-it-bad/

Currently I am working on Rural landscape My overall aim is to produce a body of photographic work, which represents an alternative to the widely published views of New Zealand as a ‘scenic wonderland.’ These by and large hark back to the traditions of the sublime in Western art and are more often than not designed to conjure up notions of a New Zealand as an unspoiled wilderness. I want to use my photographic practice, as well as my personal experiences of specific New Zealand places, to produce an alternative canon of New Zealand landscape photography which i consider beautiful.  This will include an acknowledgement of the link between a place and the community, which lives there. Flood due poor drainage on a development in the port hills I am interested in fractal design in the landscape. Working from the idea that there is no longer a nature that is unchanged from its natural form by humanity, the form has been manipulated by humanity to conform to a pattern. W

Sumner Beach in the morning

Here is another article from my old site "Shadowland". Fred Endsley CHANGING THE COLOR OF BLUEPRINTS "Probably the most significant problem in the use of the blueprint, though, is a psychological rather than a chemical one. We find that we are working against a cultural or conventional color bias: the blueprint is simply too blue. Reasonably neutral black seems to be an ideal, but another 'photographic color', Such as brown, would apparently be more acceptable than blue." - Reginald Heron, Blueprint Into Blackprint Afterimage, Dec. 1973, Volume 1, Number 3 Although the blue blueprint is the most stable and highly tonal form, there is still a groundswell away from its graphic blueness, especially among those intent upon using high-contrast, low-detail yielding transparencies. For those who find the blue distasteful, and for experimentalists, here are several processes for changing the blue into another, more "pleasing" colo

4 February 2013 Last updated at 00:54 GMT   Article written by Phil Coomes BBC Picture editor The Last Stand   The landscape around us has been shaped by successive generations, moulded to our needs be it for agricultural, economic or transport reasons. Yet within it there are traces of the past that surface from time to time, yet one past trace that I'm sure those of us who live in the British Isles have all seen are the coastal defences rapidly constructed during World War II. The remains of a network of pillboxes and gun emplacements can be found at various coastal locations around the country and a short trip across the English Channel will ensure you come face to face with the Nazi Atlantic Wall that was there to stop the Allied forces returning to mainland Europe, something it failed to achieve. These constructions may lack architectural glamour yet they are important parts of our recent history and do have a certa