Luminous Landscape Forum
The Art of Photography => The Coffee Corner => Topic started by: kencameron on March 10, 2016, 04:00:07 am
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Looks interesting (http://www.newyorker.com/culture/photo-booth/great-britain-strange-and-familiar?intcid=mod-latest). Also here (http://www.barbican.org.uk/media/upload/artform%20news/0Strange%20%20Familiar_pre-installation%20image%20sheet_WEBSITE.pdf). The same could be done for the USA and other places. Probably has been?
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Makes me despair of photojournalism.
Raymond Deparon, Glasgow, circa 1980.
Pick any old city with history and you'll find the end of the world. But, apart from its slums, Glasgow had properties, even back in the 50s - that would blow any old prejudiced mind away with their glory. Try Whitecraigs, for one. My dogs and I knew its Rouken Glen Park very well indeed; walked it together twice a day. Even in snow. Now that I think about it, it's surprising that with all that exercise I ever got heart problems. But it did kill one of the dogs, poor soul; is exercise really safe?
Guess HC-B et al. wouldn't have had much fun there, though they might have got themselves arrested.
Selective reporting is such a bore if you know a bit about the subject under the glass.
Rob C
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Rob, sorry to nitpick but it is Raymond Depardon. I have ordered the book from Amazon because I like images of Glasgow. Thanks for the information.
https://en.wikipedia.org/wiki/Oscar_Marzaroli
is another photographer worth looking at. Recently I stated in another thread that I couldn't relate to Henri Cartier Bresson with respect to learning but the two mentioned photographers I can relate to because I can visit the places they shot and see what remains and see what they saw, possibly?
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Rob, sorry to nitpick but it is Raymond Depardon. I have ordered the book from Amazon because I like images of Glasgow. Thanks for the information.
https://en.wikipedia.org/wiki/Oscar_Marzaroli
is another photographer worth looking at. Recently I stated in another thread that I couldn't relate to Henri Cartier Bresson with respect to learning but the two mentioned photographers I can relate to because I can visit the places they shot and see what remains and see what they saw, possibly?
No problem, stamper - you should see an y olf my pots fiorst tikm e rouind: a here. I can hardly hit single letyters at all . I suppose I'pm tryin g to be thel.onious monl and hit bertween notess.. I calim dyslexic fingers.
;-)
Rob
P.S. I knew Oscar slightly. When I was in my last job, at a studio in Berkeley Street up at Charing Cross, a couple of guys there also knew him and, as he was of Italian origin, and I have Italian relatives, I took him a bundle of Italian magazines that used to be sent to me in Glasgow. Nice man, time to spend with a bunch of dumbish, naïve kids...
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No problem, stamper - you should see an y olf my pots fiorst tikm e rouind: a here. I can hardly hit single letyters at all . I suppose I'pm tryin g to be thel.onious monl and hit bertween notess.. I calim dyslexic fingers.
;-)
Rob
P.S. I knew Oscar slightly. When I was in my last job, at a studio in Berkeley Street up at Charing Cross, a couple of guys there also knew him and, as he was of Italian origin, and I have Italian relatives, I took him a bundle of Italian magazines that used to be sent to me in Glasgow. Nice man, time to spend with a bunch of dumbish, naïve kids...
There was a good program on the TV about him a couple of years ago. I recordered it but lost the recording when my tv box had to be replaced. His images of the Gorbals are very good. I have a book about him which is excellent.
Waiting for the Magic: The Photography of Oscar Marzaroli
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Back to the subject matter. Personally I am not a fan of Martin Parr. I bought one of his inexpensive books to see if I liked his style with the thought of buying one of his "better" books but didn't bother. He seems to be liked and disliked in equal measure?
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I like his work, Robert, though I understand why many people don't. Bottom line, he was one of the few who came up with a new approach to things. That's always interesting -- and difficult.