Friday, September 19

Francis Bacon and Lartigue: the ongoing characters

There's a major retrospective of Francis Bacon's work on at Tate Britain until January, and Robert Hughes' article in The Guardian

http://www.guardian.co.uk/artanddesign/2008/aug/30/bacon.art

reveals an unexpected link between Bacon and the photographer Lartigue:

"... Bacon's resort to photography, both still and cinematic, was constant, obsessive and over-the-top. Its sources and results have an enormous span, from the relatively familiar – Dr Goebbels orating, terrified crowds scattering from the tsar's police, or the bloody face of the nurse on Eisenstein's Odessa Steps, peering hysterically through her broken spectacles – to the utterly obscure. There are bits of Picture Post and images from those resources of gay porn, the body-culture magazines of the 50s. Sometimes the obscure details lie within images themselves famous. For instance, there is a well-known photograph of a racing-car at Le Mans, in which the speed of the machine and the panning camera movement turn the wheels into forward-leaning ellipses, distorted cartoonwise. So striking is this effect and so dominant the machine's image that few people so much as notice the figures in the background, on the verge of the track. But Bacon did, and he stole a pair of them, enlarging them for the right panel of Crucifixion (1965), where, in their odd soft hats, they look threateningly like a pair of Australian yobs leaning on a bar."


The ‘well-known photograph’ of a racing car sounded mightily familiar, and sure enough, a quick Google reveals that Bacon had borrowed the figures from Lartigue's racing car photo for the right panel of his triptych:


Sunday, September 14

All at sea on Bournemouth Pier


It's been a sad summer for English piers with both Weston-super-Mare and Fleetwood Piers being severely damaged by fire. Over the years, Brighton's formally splendid West Pier has slowly deteriorated from an elegantly wasted wreck to a bit of an eyesore. Meanwhile, Brighton's other pier, the Palace Pier, ‘rebranded’ itself as Brighton Pier. Of course, piers are inherently at risk given the large amount of wood on the premises but when closed or struggling piers and seaside funfairs burn down with regularity over the country various rumours surface.

On Thursday I paid a visit to Bournemouth's recently revamped main pier. It proved to be bit of an acquired taste, especially as you're required to stump up 50p for what at first wander seems to be a fairly mundane affair. The cafe at the end of the pier has moved upmarket considerably to become Key West Bar and Restaurant. A hoarding offered an all-day breakfast for £6.95, which I heard one lady point out as ‘a disgrace’. Later on in the warm and pleasant evening the largish restaurant had just two diners, and at least that many staff. An elderly couple peered in and muttered something about just wanting a cup of tea and that it all looked a bit posh (further menu item fact: cappuccino £2.50). I noticed that the cafe glitterball has inevitably disappeared in the makeover, although the ornate ceiling remains!

There are advantages to the low-key approach though. Much as I like the noisy Brighton Pier with Kylie blaring out of the sound system, you can forget that you're out at sea and the whole experience could be any old funfair, especially at night. Whereas on Bournemouth Pier there's no music, no slot machines, and in the near silence the noise of the waves takes over. And after dark, the underfloor lighting creates an eerie light show of changing colours.

Tuesday, September 9

Front - Chance encounters by the seaside


Justin Sainsbury's book "Front - Chance encounters by the seaside" is now available from Blurb:

Blurb

Blurb's 15-page preview only takes you as far as the first picture due to the lengthy introduction, etc, but the pictures can be previewed here:

Flickr

The book was laid out by professional designer, Mark Ogden (web site), and was originally printed locally as a short-run book. Hence a lot time and effort has gone into the production, rather than being a hit-and-run Blurb template job.

I have arranged an amazing 0% discount on the Blurb price. If you buy a copy, don't forget to leave a comment here and maybe Justin will buy me a Cornetto.

Monday, September 1

Street photographers – the saturated streets of London

I was walking down Villiers Street towards the Strand on Saturday when a couple of elderly American (I guess) tourists passed by me. Big glasses, loads of character, wearing coats despite the summer heat and humidity. I thought to myself – "they look like they've stepped out of a Bruce Gilden picture".

I turned round with the vague thought of getting a picture of them, when that instant a man steps up with a camera and off-board flash, crouches a little and zaps them from close up – just like Gilden.

They seemed completely unfazed by the experience.

I took the photo below a few seconds afterwards. The elderly American tourists are not featured - I thought they'd been photographed enough for one day.


Villiers Street.

Wednesday, August 20

Police state or joke?

A link from today's Guardian is hard to believe.

Experts? Bucks Fizz? Cliff Richards? Maybe it is a joke.

Guardian

"Singer Pete Doherty has been blocked from performing at a music festival amid fears his band would "gee up" the crowd into a dangerous frenzy.

The decision came after police asked an intelligence officer to research Doherty's band, Babyshambles, who were booked to headline Moonfest festival in Westbury, Wiltshire, next week. They concluded that the band's tendency to "speed up and then slow down the music" could create a "whirlpool effect" and spark disorder.

...

But Superintendent Paul Williams said the ban was designed to preserve public safety. "Experts are telling us that the profile of fans that follow Pete Doherty and Babyshambles is volatile and they can easily be whipped up into a frenzy, whereas the profile of someone that would follow around Cliff Richard or Bucks Fizz, for example, is completely different."

Monday, July 21

Time for some more backups...

Browsing through a copy of The Guardian the other day, I saw a mention of their computer editor's "Laws of Computing":

"As Schofield's Second Law of Computing asserts, data doesn't really exist unless you have two copies of it. Preferably more. And the only person who can be held responsible for that is you."

Wading through hard drives, deliberating, deleting, backing up.

Does it ever end? Probably not.

Wednesday, June 25

Photos of uncertain importance. Part 22. Gazza’s kebab

It’s football time again – the European championships – which means that ITV and the BBC choose a piece of classical music to accompanying the title sequence. This noble tradition (probably) dates back to the World Cup, Italy 1990

http://www.youtube.com/watch?v=mPZ5Wbrunsg

and it’s hard to imagine how Nessum Dorma could be bettered in this respect – it seems possible that Puccini had the 1990 World Cup in Italy in mind when he wrote the tune. There have been flirtations with New Order and the like, but since Pav sang, it’s been mainly classical…

The footage that’s inextricable linked to the event from the England point of view is of a tearful Paul Gascoigne, aka Gazza, one of the most naturally talented, but troubled, footballers that England has ever produced. (I don’t think I’ve ever read a piece about Amy Winehouse that managed to avoid using the word “troubled” – the subs must be tearing their hair out, maybe it’s time to invent another word…)

Fast forward eight years, and England boss Glenn Hoddle is pondering his selection for the France 1998 World Cup. Gazza is not fully fit and has earned a reputation for leading an unhealthy lifestyle. Meanwhile Hoddle is making some very non-committal remarks regarding the player. It’s worth bearing in mind that Martin Amis (the novelist, not the photographer) has suggested that all England managers go mad in the end, and there doesn’t seem to be a great deal of evidence to disprove that theory. Although Hoddle may have had a natural head start in the fruitcake stakes.

Just a few days before the squad is due to meet up, Gazza goes for a night out with his friends, DJs Danny Baker and Chris Evans, both known to enjoy a few drinks. The evening ends in the usual culinary conclusion – a visit to the kebab shop.

From http://observer.guardian.co.uk/osm/story/0,,1270872,00.html

Student James Eisen spotted them and quickly aimed his camera: 'Gazza had a bag of chips and another bag. I asked Chris if I could take his picture and he nodded. I asked Gazza and he sort of mumbled so I took the shot. One of Gazza's mates grabbed the camera and it went flying. It ended up under a car but I was able to retrieve it.


The picture of Gazza looking slightly shell-shocked and adrift with kebab in Soho made the front page. I have a very clear memory of seeing the picture. Although the party protested that Gazza was in bed by midnight, and Evans even claimed that the chicken kebab, being low in fat, was the natural food of athletes, it didn’t look good. The kebab – the ultimate symbol of end of night revelry and general pissed-up-ness.

I wonder what happened to James Eisen? A quick Google reveals a mention that a James Eisen has quite recently worked for the News of the World newspaper. It’s hard to know exactly what effect that one photograph had on Hoddle, but it’s fair to say it didn’t help Gascoigne’s case.

Gascoigne never made the World Cup squad, and never played for England again.

Thursday, June 12

Maciej's Cardiff at night - the video


Fans of Maciej Dakowicz's Cardiff at Night series might be interested in a video of him in action on youtube

http://www.youtube.com/watch?v=72DIdt3oaqI

it's a bit rough around the edges, but it shows the general ribald chaos and some examples of Maciej shooting.

The video was shot by Joni Karanka, who also shoots Cardiff at night.

Tuesday, June 3

Tate Modern via Flickr

In a similar way to the "How We Are Now" exhibition at Tate Britain, the "Street & Studio" photographic exhibition at Tate Modern is now encouraging participation via Flickr

"In conjunction with the exhibition Street & Studio: A History of Urban Photography, Tate Modern is inviting you to contribute your own urban portraits to be on show in the gallery, and have the chance to be part of the Street or Studio alternative exhibition catalogue."

Details on the Tate site

The Flickr group

Monday, June 2

May round-up


May. Funny old month. What did I get up to?

I popped into the Photographers Lounge in Swanage, which has an interest in street photography demonstrated by the Magnum and Cartier-Bresson books dotted around, and droned on about all my favourite current photographers.

I visited Brownsea Island, which was fabulous, but yielded few photos. Maybe when there are more visitors...

There was also an hour or so shooting at a dog show followed by some cheesy chips from West Bay Burger, probably the most consistent purveyor of quality French fry style chips that I have encountered. The West Bay fast food hut is topped with a copy of a Toulouse Lautrec painting executed by the French owner's son. It's an all-round class joint with free access to a wide range of splurgy sauces – no stupid sachets here.

I visited Bournemouth at least once, and realised I was pretty flipping bored of Bournemouth. That's it. Roll on June.

Oh, and after the "moderate" success of my March madness photographic print sale, I'll be offering a couple of prints throughout June at very reasonable prices. Details shortly.

Monday, May 5

London exhibition – Don McPhee: photographer

There's a retrospective of the work of the photojournalist on now.

Details:
Friday 18 April 2008 to Friday 27 June 2008
Opening times:
Monday to Friday 10am to 5pm
Saturday 12pm to 4pm
(Closed Bank Holiday weekend, 24/25 May)

Free admission.

The Newsroom, Archive and Visitor Centre
60 Farringdon Road
London EC1R 3GA

web

Thursday, May 1

This weekend: The Cans Festival, London

A street party of stencil art, 3-5 May 2008

Location: Leake Street, London, SE1 7NN (near Waterloo Station)

This is an open event but well known confirmed artists include Blek, Faile, Eine and someone called Banksy.

Interweb

Sunday, April 20

Brief review: street photography with the Pentax K10D

At the beginning of the month I bought the Pentax K10D, and I thought I'd jot down a few notes for the benefit of anyone considering this as a tool for street photography. Why am I reviewing a camera that is a couple of years old? Well, because it has just been "superseded" by the K20D and so is relatively cheap at around £400 for a 10 megapixel SLR that is built like a tank. Although it probably won't be around for too long – apparently stocks are low.

Of course, all the detailed technical data and review can be found at dpreview.com, which, in short says it's a good camera but the jpegs are soft (ignore dpreview's comment about the lack of a hard button for ISO on the Conclusions page – that has been addressed by firmware updates). But how does the K10D perform in the field?

My impressions are based on a couple of afternoons wandering around Bournemouth and a showery Saturday in London, where the camera's weather seals meant that I could just tuck the camera under my arm without worrying about it blowing up.

First off, the only digital SLR that I've used extensively is the 4-year-old Nikon D70, so I was surprised to find that the K10D's autofocus (described as "accurate and fast " by dpreview) is noticeable slower in both good and poor light than my antique Nikon. In practice, having shot several hundred street-style photos with the Pentax, I can't say I came away cursing that I had missed a single shot due to the autofocus performance, so in practice it's fast enough. It's possible that if you were doing really up-close, in-your-face shots it would struggle, but I tend to switch to manual focus for that sort of shot anyway...

Another minus point for the K10D is that the shutter is pretty noisy – pressing the shutter unleashes a loud clack that is much louder than my olde worlde Nikon D70. In London, it was nothing to worry about, but there were a few occasions in quieter locations where the potentially huge thwack of the mirror made me think twice about taking a shot...

On a more positive note, the build quality is excellent. Holding the camera, it immediately feels like it means business, with a nice grip and tactile rubberised surfaces, with the solid weight and feel of metal beneath.

The controls are also excellent; the camera has front and back dials and a large top-panel LCD which can be illuminated by pressing the exposure compensation button. In response to initial criticism that the K10D was missing a hard button for ISO, a firmware update means that the 'OK' button can be used to change ISO by holding the button and turning the front dial. Alternatively, in aperture priority and shutter priority mode, the front and back dials can be set to control different parameters, including ISO, without a button press. As someone who routinely uses aperture priority mode and then changes aperture, ISO and exposure compensation frequently, the ability to change aperture and ISO using just the front and back dials, with the occasional change of exposure compensation using a button at the back while turning a dial is the perfect combination of controls.

An unexpected plus point is that the 18–55mm kit lens is quite compact. Personally, I have a big problem using bulky lenses, so the smallish length and width (filter size just 52mm) of el cheapo kit lens is very welcome. An even smaller 18–35mm lens would be ideal, Pentax. I had intended to buy the tiny 21mm pancake prime but as the kit lens is pretty usable, I'll bide my time until I come across a second-hand one.

As for image quality, when I hooked up the camera to the computer, I was pleased with the results. The colours look very natural, almost film-like.

Samples:



In short:
Plus points
Excellent build quality and controls
Large and bright viewfinder
Dust and weather seals
Small kit lens
Price – around £400 including kit lens

Minus points
Loud shutter noise
Autofocus just off the pace, although rarely a problem
Soft-ish jpegs
Unpredictable exposure in bright, high contrast conditions

Saturday, April 19

Street photography exhibition in London: The New York School

Now on at the Michael Hoppen Gallery, just off the Kings Road, is an exhibition of New York street photography from the 1930s to 1960s. Featured photographers include William Klein, Robert Frank, Diane Arbus, Lisette Model, Lee Friedlander, Neil Libbert, Sid Grossman, Louis Stettner and Ted Croner.


Details:
17 April 2008 to 7 June 2008
Michael Hoppen Gallery
3 Jubilee Place
London SW3 3TD

Opening hours:
Tuesday-Friday: 12 noon to 6 pm
Saturday: 10.30 am to 4 pm
(Closed Sunday and Monday)

web

Sunday, March 9

Bill Owens at Arnolfini, Bristol (ends 30 March)


If you're in the area, there's a Bill Owens exhibition entitled "Suburbia Revisited" at Arnolfini in Bristol. The show runs through his work from the well known and influential "Suburbia" book shot in California in the 1970s, to subsequent black and white studies of political protests, through to a small representation of his more recent colour pictures.

I paid an all-too-brief visit – the Suburbia prints are fascinating and well presented, although the later black and white work seemed to be printed a smidgen on the small side to be fully engaging.

As well as a new book to accompany the exhibition, the "Suburbia" book is still widely available (for example via the UK Amazon site).

About the venue
If you've never been to Arnolfini, it's a very pleasant exhibition space and cinema in the centre of Bristol. It also has a good bookshop (where I picked up the little £5 Banksy books before he hit the big time). And entrance is free.

Arnolfini was recently refurbished, which resulted in a vast improvement of the exhibition spaces but ruined, in my humble opinion, the all-important cafe bar! Arnolfini was established in 1961 by Jeremy and Annabel Rees, and Jeremy Rees' biography makes for more than interesting reading:

Jeremy Rees

In a nutshell
Exhibition runs until 30 March 2008.
Arnolfini is open seven days a week in March (NB. Arnolfini will be closed Mondays starting from April).
Entrance is free.
Galleries and box office are open 10am–6pm daily.
The bookshop is open 10am–8 pm daily.
Arnolfini is located on Narrow Quay, between the harbourside and Prince Street, about 15 minutes' walk from Bristol Temple Meads railway station.

http://www.arnolfini.org.uk/

Monday, March 3

March madness photographic print sale – better than Bekman?



As an experiment, and in the spirit of Jen Bekman's 20 × 200, I'm offering prints of these two photos throughout the month of March at a fraction of the usual price. Namely £12 each (instead of the usual £80) for 15 by 10 inch prints plus postage and packing at the normal rate (UK £5, Rest of Europe £7, Rest of World £10). The 15 by 10 inch prints are printed on lustre Fuji Crystal Archive photographic paper from a local pro lab that I use regularly.

The Punch and Judy photo has featured in my three solo shows and the egg and chips one is quite nice. What's the catch? Well, none apart from the fact that it will be 'print on demand' to keep the costs down, and so I'll get the prints made in two batches – at the middle and end of March, so expect to wait up to 3 weeks for delivery. The prints will not be offered at this price again, of course.

email me for full details, why don't you.

For normal print sales, details are here.

Sunday, March 2

Print prices – the two-tier solution


Pricing prints is a tricky business. The first time I had a print exhibited was about 5 years ago in a Royal Photographic Society (RPS) show. I had no idea how much to charge and asked several photographers who had exhibited, as well as the RPS themselves. The consensus seemed to be that £100 was the minimum price point for exhibited material. I think I priced my smallish print (above) at around £140, and I waited for the orders to roll in as the exhibition toured the country. Unfortunately, the response was disappointing... It was interesting to look at the exhibition price list where the prices ranged from around £40 (one of the Silver medal winners was one of the cheapest prints) to the mid-thousands.

As I started to get more queries about print prices via my web site, I was caught in two minds. Namely trying to make some money from the hundreds or thousands of hours of "work" that I'd spent making pictures versus the fact that many enquiries seemed to be from students or fellow photographers, with not a huge amount of cash to throw around. I didn't feel entirely comfortable selling things for prices that I, as a photography enthusiast, couldn't afford.

In the end (and incidentally this is before the estimable Jen Bekman started up http://www.20x200.com/), I slowly came to the conclusion that the ideal solution was to offer small prints for low prices while offering larger prints at prices that I couldn't afford, but possibly other people could...

In addition, as an experiment along the lines of 20×200, I'm offering prints of two photos at very low prices throughout March to see how many (any?) sell. Details to follow tomorrow.