Tony Cearns caught up with Max Pinckers, recent nominee to Magnum, ahead of his exhibition as part of LOOK/15 Liverpool International Festival of Photography.
Tony Cearns caught up with Magnum Associate Max Pinckers, ahead of his exhibition as part of LOOK/15 Liverpool International Festival of Photography.
Anna Fox is one of the most acclaimed British photographers of the last thirty years and is Professor of Photography at the University of Creative Arts, Farnham. Known for her use of flash and colour, she emerged in the 1980s as part of what might be called a new wave of British colour photographers.
Awoiska van der Molen – It’s heart-warming to see an artist being successful with an approach that is becoming increasingly rare. As mentioned in Sean O’Hagan’s perceptive review, Awoiska van der Molen’s images are “captured in single exposures of up to half an hour, then painstakingly printed in her darkroom on large format, silver gelatin paper. The methodology is unapologetically old-fashioned, and the results extraordinarily powerful”. [Read more…]
“I even think of black and white as colours, it just happens to be limited to two,” explained Bruce Davidson, comparing himself to a baseball switch-hitter able to swing both ways depending on the score 1
A far cry from his mentor Henri Cartier-Bresson who famously rejected the use of colour. We can now look back on this sterile debate (i.e. B&W versus Colour) with the advantage of having seen the wonderful colour work of Cartier-Bresson’s contemporaries Helen Levitt, Ernst Haas, Fred Herzog and in particular Saul Leiter. [Read more…]
I immediately think of the “big four”: Barthes, Sontag, Benjamin and Berger, of course. Roland Barthes Camera Lucida was ground-breaking at the time, but I tire of semiotics and structuralism. Sontag? Again hugely important in the genre. I read “On Photography” in 1978, but it didn’t speak to me at the time and still I find it dry and dull. A giant that Walter Benjamin is of photographic criticism, again it’s hard work isn’t it? [Read more…]
Tony Cearns caught up with Elisabeth Maurice to talk about her photography and life.
My rating: 4 of 5 stars
Clive Scott is professor of European Literature at the University of East Anglia. His approach to documenting the origins and development of street photography (“SP”) is scholastic, but nonetheless, with applied effort, absorbing and thought-provoking.
His approach is grounded in the tradition of photographic criticism. “My history is … somewhat capricious and designed to serve the specific tasks I have set myself”‘ he says in his introduction. Hence, it rewards the determined reader.
A very good job is made of capturing the complex relationship between impressionism and photography and putting this into the context of contemporary literary thought.
I particularly liked his discussion of the emergence of photography “out of the studio and into the street”; from the enmity of Charles Baudelaire to the position where photography is seen as the “art of the imaginary par excellence” (Soulages).
For readers who want a simple historical account of the development of street photography, this book will not be for you. If however, you want to understand the history of SP against an emerging tradition of photographic criticism and an interest in the phenomenological roots of photography, then please take some effort to read this book. Effort it will take, but rewarded you will be.