George Appletree



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Computer girl

An improvised street portrait rich in colors and spontaneity.


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Time flies

Rather than lifestyle the point of Leica making watches is experience. Their cameras are forever; and always were there. A kind of company statement. I’m comfortable with the brand cause I don’t need more cameras (or watches). I love its products and the fact of not owning them.


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The break

Geometry and patterns are often elements helping photographs to work. In this case linked to the human factor through those fingers resonating with all other parallels. There is a lot of rythm in this photograph, as if those craddling chairs and tables make a symphony that she's unconsciously playing.


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"Bad art is abundant, good art is always in demand", one of the thoughts from the abundant ultimate photo fair.


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A tiny crop of the same size, just to have an idea about how a perfect expensive lens behaves

in relation with a fantastic cheap one

Both using the same 50 ISO film.


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When artists want to express how good they are in their activity they become really boring no matter how good they are.


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Fibonacci's paradox

Perhaps the golden proportion is just a myth. I mean, we all know about this perfection:

Drawing Fibonacci's series from inside to outside, you get that beautiful result.

For an artist’s mind, obviously there's no much difference between 1.618..... and 1.6 if looking for some excellence in a rectangle. So, it is more than correct the assumption that "gold" is inside an 8 by 5 rectangle.

But see what happens if you draw it from outside to inside. In an 8 by 5 rectangle, draw a 5 by 5 square, then a 3 by 3, then a 2 by 2 and then ...


Then, just it doesn't work.


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Photography, again

Of course photographs need to make us think, to stimulate our imagination. To be something else than the mere subject photographed, thanks to the visual properties of the medium.
Do photographs need to tell a story?, to be narrative. Or allegoric. Or poetic.
Do they need to be part of a project?, to have a preconceived intention about what they must transmit.
If that isn't again to reflexion about what photographs are, I don't actually get why is nowadays photography so focused into that. Perhaps photography fuel is already finished and photographs need to be at service of one or another discourse.
A project actually sounds very well. Maybe it's what people need to listen, maybe it's also what boosts photographers to work. But, why not getting a pen and write a lot about that. Documenting it if necessary.
Some people tell stories very well. Why then let photographs do that job? In the same manner some others are very good sociologists, politicians, psychologists or anthropologists, etcetera. Why then photographers have to take their place?
Photographers are observers of reality. Discourses, stories, ... don’t make photographs better.


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Why do I shoot film. Many people try to answer the question as if that would have to be questioned. Or try to explain how advantages are more than disadvantages. Whether that’s a good exercise or not, the point is that it doesn’t usually change the readers’ mind. Film is very good because bla bla bla. The good thing is that films keep on being produced.


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The square

The color square format is comfortable... Maybe reminding medium format 6x6, but the fact is that adjusting camera settings allows actually seeing that way through the viewfinder. And no need to rotate the camera looking for verticals. Composition becomes quite particular, more centered and getting rid of wings.


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There is no special reason to white corners vigneting. In fact some cameras do that. Perhaps it's that..., due my very first camera actually did. And still does. Just I got used to it and I like it.


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There are thousands of photography books, many of them expensive. They tell what photographs are, how to make them pretty or show this or that photographer's work. I keep lots of them in my library. They're more than enough.

Maybe if I would keep just three, those are::

*La Photographie. L'art et la technique du noir et de la couleur. Édouard Boubat. Librairie Générale Française 1985

It tells photography is rather a simple thing.

*Spirits of salts, a working guide to old photographic processes. Randall Webb & Martin Reed. Aurum Press, London 1999

To demonstrate photographs can be made beautiful in many ways.

*Pinhole Photography. From Historic Technique to Digital Application. Eric Renner. Focal Press 2009

It shows how a camera can be made out actually from anything.


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Purism in photography is based in the principle of considering photography as a visual experience: what matters is what you see (and how you handle the camera, the light, the situation) to get the desired result.

If what pretended is the result to fit in a certain frame of visual properties, then handling your photographs or using any alternative process is the method to be satisfied with it.


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Anecdotes are not usually what define. The whole is often more ostensory. But there's no whole without them.


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To be like them

I met several photography masters along the years. How that would be: to be important in the photography world, to have your works in the very most notorious museums and galleries, to get your books published and sign on them for admirers.


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The magic camera

The magic camera is small and simple. No, it is not platonic, it's not a concept either. It is a piece of black material with a lens and tiny windows and a few knobs and buttons. It fits in your hand well and it weighs not too little and not very much. It works the way it does, silent and securely, after you arrange everything for it to do it. Then two arrows tell you all you need to know. Click. And automatically you forget about any other camera you have used before.

Now I am happy. No need to worry about cameras any longer.


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If thinking of selling the cameras you don't often use, this new product just makes you think not only that you will never get it but also that you never had a real one, like everything you have tried was a silly toy compared to that.

Maybe that's good and the conclusion is why selling them if you will never have the aim of getting something like that.

Perhaps one tries to look for absolutes in cameras: the perfect one for this or that; say to make art, to fit in your pocket or to satisfy clients or to fill your ego. Of course you'll never find that, but probably is better to find your perfect point of view. A thing, by other side, absolutely relative.


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If you can't make art from your photographs, you might look for it in cameras. There are plenty of beautiful ones. Making them work is at least artisan many times. You can even make cameras.

Is not that art, I mean sad?


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All cameras do the very same thing. Once chosen the one (or 3) making what you want why to get another one.

If that's a too simple statement, you still are in time to sell those you never use.


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I'm very happy of having completed a new paper dummy (I got used to computer ones for a while). Now they're called project and become e-books. Glad to having handled physical copies and having glued them and written a few words on a real album.


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