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Nancy Breslin goes to Ireland and London and finds pinholes in the gallery shop rather than on the exhibition wall.

Nancy Breslin reports from the AIPAD shows where she found more than a few gems.

Nancy Breslin continues Peter J. Blackburn’s discussion on the disappearance of the traditional darkroom.

Nancy Breslin’s take on Patti Smith’s memoir “Just Kids” and her time with Robert Mapplethorpe.

Nancy Breslin goes to the Phillips Collection to see “TruthBeauty: Pictorialism and the Photograph as Art, 1845–1945”.

I just got back from a trip to Los Angeles. We spent some time seeing friends and shopping (my 18 year old daughter was with us), taking pictures (I shot 6 rolls each with my Zero 2000 pinhole camera and my Diana+), but also managed to see some art.

In theory alternative photography is “low tech,” although one thing I like about it is the fluidity between high and low. I might shoot on film with a plastic camera, then scan the negative so I can create an enlarged digital negative, then print in gum over cyanotype. Whatever works…

Nancy Breslin spent a day this week visiting photo exhibits in Chelsea (NYC).

Recently the New York Times ran an article titled “For Photographers, the Image of a Shrinking Path” In a nutshell, the writer said that the combination of smarter, less expensive digital cameras, photosharing sites such as flickr, and fewer magazine pages have resulted in a very tough market for commercial photographers.

About a year and a half ago some Polaroid fans leased a closed instant film plant in Enschede (Netherlands), after Polaroid had first announced bankruptcy and then stopped making their much loved products. Named “The Impossible Project,” this group had the seemingly quixotic goal of reformulating and manufacturing instant film.

Nancy Breslin is inspired by the Stieglitz’s photographer Gertrude Kasebier.

Nancy Breslin reports from the annual Society for Photographic Education conference in Philadelphia.

Nancy Breslin on alternative photographic methods being called conventional.