tag:blogger.com,1999:blog-46437085979537758262024-02-19T15:45:15.390+00:00nightworkers photographic styleKaren Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comBlogger30125tag:blogger.com,1999:blog-4643708597953775826.post-2978689400122995682010-04-25T15:41:00.001+01:002012-04-20T15:34:22.696+01:00Iconic Photographs<div align="justify">Over Easter, I decided to throw most of my essay research out of the window and start again.  As I am aiming to produce iconic photographs, I will be researching iconic images and trying to discover what makes them iconic for my extended essay.  Looking at the photographs featured in this blog, many of them could be described as iconic in style.</div> <div align="justify">The following is a collection of iconic photographs that I may research for my essay.  </div> <table style="width: 400px" border="0" cellspacing="0" cellpadding="2"><tbody> <tr> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S_qXoeYwjQI/AAAAAAAAEDw/QZmeI2cOTxo/s1600-h/arts-graphics-2008_1183484a%5B4%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image002" border="0" alt="clip_image002" src="http://lh3.ggpht.com/-e1k-dZmeyso/T4v7fY6iFeI/AAAAAAAAGbA/Pqe8HBDptPE/clip_image002%25255B4%25255D.jpg?imgmax=800" width="236" height="236" /></a></td> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S_qXnkRH7uI/AAAAAAAAEDo/Z_CIed97MFw/s1600-h/jim-morrison3%5B4%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image002[5]" border="0" alt="clip_image002[5]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnVt8PYPBpo64_5oWe2VebsspYUmpX1DDxrtIxXriQCEcoGtd7TOl1ruOnUbx9hBr7mbTZXK9tsONdT3hn_gdxuTauu6MndmXsMHEe16mQpVWJoEuPWbx3zo50BIeZfmzwAnsi5oEETlWb/?imgmax=800" width="233" height="232" /></a></td> </tr> <tr> <td valign="top" width="200"><em>‘Jimi Hendrix’</em> by Gered Mankowitz</td> <td valign="top" width="200"><em>‘Jim Morrison’</em> by Joel Brodsky</td> </tr> <tr> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S_qbyy82tQI/AAAAAAAAEFw/5p5ARyZNl1A/s1600-h/Terry-ONeill-David-Bowie%5B4%5D.jpg"><img style="display: inline" title="clip_image002[7]" alt="clip_image002[7]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7eF8Muw8X1qrGFrn5ry4xaZ0x8MR4KGBH-nRR8HYaerTKZatmRIN8N7yCcg_gvLhhDir-7MRpVJwHJuK-IraT4gC_OV1ODYwPfTPr2R3lkBGbarkD6e3eRv2k8DLHDqLebKWM4ekFpZdI/?imgmax=800" width="181" height="263" /></a></td> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S_qb0sv9CWI/AAAAAAAAEF4/uD2uN_tZ2r8/s1600-h/beatles_abbey-road%5B4%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001" border="0" alt="clip_image001" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg70nQNjhEtLInyReS0e77b_pwH42v7loBKqD9nwti1-2E8Pa0antE6F-FrkiDRyhcRxLSoqp0mMgP4GPhJ8l7n0ucNlcB6GCS-_usubNG4lgvxTSgPOFCvfnMWDrbWyJEdkFxWdgTpBXrF/?imgmax=800" width="250" height="246" /></a></td> </tr> <tr> <td valign="top" width="200"><em>‘David Bowie’</em> by Terry O’Neill</td> <td valign="top" width="200">Abbey Road record cover by Iain MacMillan</td> </tr> <tr> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S_qXrCzV-GI/AAAAAAAAEEA/8ny9BEzJwPo/s1600-h/Dennis%20Stock%20James%20Dean%5B5%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[6]" border="0" alt="clip_image001[6]" src="http://lh6.ggpht.com/-rrPZWPH66d8/T4v7jHRWdiI/AAAAAAAAGbg/bGwbseqn6yM/clip_image001%25255B6%25255D%25255B4%25255D.jpg?imgmax=800" width="200" height="284" /></a></td> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S_qXsWHVD5I/AAAAAAAAEEI/PMYKxyviOSg/s1600-h/marilynwhitedress-759212%5B4%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[8]" border="0" alt="clip_image001[8]" src="http://lh3.ggpht.com/-xO9PBFv43zo/T4v7j5cUc3I/AAAAAAAAGbk/IXioiECHHbo/clip_image001%25255B8%25255D%25255B4%25255D.jpg?imgmax=800" width="200" height="254" /></a></td> </tr> <tr> <td valign="top" width="200"><em>‘James Dean on  Times Square’</em> by Dennis Stock</td> <td valign="top" width="200">Publicity photo from the film ‘<em>The Seven Year Itch’</em></td> </tr> <tr> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S_qadA8WAaI/AAAAAAAAEFo/9D8KjjIrHp8/s1600-h/thewildones%5B4%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[10]" border="0" alt="clip_image001[10]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiygIPPLbxx2IB74bo3IYiU6hS2jZFvUl1_5roLr5gCzIaGnXF4VIV9aMoZbA7u5uyQ9Bm9J72af7iO_MOBvsFUD52i45A5Rr9LHGfNIty-wXlQpgUSGLtp5zRpUELxc-pLTW4aHF-PNAmv/?imgmax=800" width="200" height="251" /></a></td> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S_qXqHFnpHI/AAAAAAAAED4/meJeVLnihV4/s1600-h/betty-grable%5B8%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[12]" border="0" alt="clip_image001[12]" src="http://lh6.ggpht.com/-jOyiF3m1Pf8/T4v7ln7A87I/AAAAAAAAGb4/L-UaGu_xCt8/clip_image001%25255B12%25255D%25255B4%25255D.jpg?imgmax=800" width="210" height="267" /></a></td> </tr> <tr> <td valign="top" width="200">Publicity photo from the film ‘<em>The Wild One’</em></td> <td valign="top" width="200">A Betty Grable publicity photo</td> </tr> </tbody></table> <div align="justify">It seems that there are many iconic photographs of pop and film stars, and I am presuming (as I haven’t done a great deal of theoretical research yet) that it is the aim of the photographer to produce such iconic and memorable images.</div> <table style="width: 400px" border="0" cellspacing="0" cellpadding="2"><tbody> <tr> <td valign="top" width="133"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S_qXtRoraUI/AAAAAAAAEEQ/Kg8sMY9icIA/s1600-h/che-guevara-AlbertoKorda-1950%5B4%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[14]" border="0" alt="clip_image001[14]" src="http://lh6.ggpht.com/-69MbYYgtjuk/T4v7m0YLa_I/AAAAAAAAGcA/4r2kXlCEXNE/clip_image001%25255B14%25255D%25255B3%25255D.jpg?imgmax=800" width="182" height="240" /></a></td> <td valign="top" width="133"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S_qXuTNi6GI/AAAAAAAAEEY/9i-KidXFDhg/s1600-h/mao%5B4%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[16]" border="0" alt="clip_image001[16]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEvfOc0Bk2vvFA3isRIhXXvsZ_Gx5Ixbp_MEuUkyp-iAiRvaAMQV4hwrJUKisEakFCO0TDMqjGZlshc1r3VFh5p2_MTKgIr5RRW0QPEiSTgudC4fmSZr7M9MpiYI8QN98wbaT5bLOwF2yT/?imgmax=800" width="190" height="240" /></a></td> <td valign="top" width="133"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S_qXwuU1GvI/AAAAAAAAEEo/2p6ERsMm7nE/s1600-h/kiss%5B4%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[18]" border="0" alt="clip_image001[18]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsZ02lbEjymH6C-Hrxxp6eoH4f3OgDJsbCYFC532TKFP2TGmWaFoGVIjZPAoMQOUmAp85dyQud-Nx_1wzjxEAcSjvS3ia4iSPJzRqn1-FQHVxk9JffdJzKMk0NkeJ4mma_a-VesiFyx3ju/?imgmax=800" width="187" height="240" /></a></td> </tr> <tr> <td valign="top" width="133"><i>‘Guerrillero Heroico’ </i>by Alberto Korda</td> <td valign="top" width="133">Portrait of Mao Zedong</td> <td valign="top" width="133"><em>‘Times Square Kiss’</em> by</td> </tr> <tr> <td valign="top" width="133"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S_qXvgUj6GI/AAAAAAAAEEg/lj_9xPXuTEM/s1600-h/MigrantMother%5B6%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[22]" border="0" alt="clip_image001[22]" src="http://lh6.ggpht.com/-APb5qBKHzt8/T4v7qwaDtMI/AAAAAAAAGcY/Q4fMGcDivEA/clip_image001%25255B22%25255D%25255B3%25255D.jpg?imgmax=800" width="192" height="240" /></a></td> <td valign="top" width="133"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S_qXyFh4kyI/AAAAAAAAEEw/ketlG1s1Zys/s1600-h/iwo%20jima%5B4%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[24]" border="0" alt="clip_image001[24]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh0yxCZlY5w0SQszmpLxV8GeDqeL1N5cJz2Y0Sb_JvLTuQJnPDaFK8WonT2qb2s3F6NINCTq95ScYmcuESLfifwtydAP-jBGSJhkP1oERWMJWM3bgJYZ6TJ6uBYNjhgd0wMPrz1DH3_nRv/?imgmax=800" width="189" height="240" /></a></td> <td valign="top" width="133"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S_qZtQtECXI/AAAAAAAAEE4/BGpdbji7Wpc/s1600-h/Karsh_Churchill_580pix%5B8%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[26]" border="0" alt="clip_image001[26]" src="http://lh5.ggpht.com/-YRiJPv5xFtQ/T4v7sn9vZuI/AAAAAAAAGck/CQwpomFxxwA/clip_image001%25255B26%25255D%25255B3%25255D.jpg?imgmax=800" width="186" height="240" /></a></td> </tr> <tr> <td valign="top" width="133"><em>‘Migrant Mother’</em> by Dorothea Lange</td> <td valign="top" width="133">‘<em>Iwo Jima’</em> by Joe Rosenthal</td> <td valign="top" width="133"><em>‘Winston Churchill’</em> byb Yousef Karsch</td> </tr> <tr> <td valign="top" width="133"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S_qZuMqd8GI/AAAAAAAAEFA/-LaigVfH6K0/s1600-h/green-eye-afghan-girl-national-geographic%5B5%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[28]" border="0" alt="clip_image001[28]" src="http://lh3.ggpht.com/-ZmFuizhmaIw/T4v7vPgDDsI/AAAAAAAAGcw/uEtFdytzw2c/clip_image001%25255B28%25255D%25255B3%25255D.jpg?imgmax=800" width="159" height="240" /></a></td> <td valign="top" width="133"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S_qZvfa6IxI/AAAAAAAAEFI/LuaTQLsQ5q8/s1600-h/brunel%5B3%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[30]" border="0" alt="clip_image001[30]" src="http://lh6.ggpht.com/-f9YHdAybhLU/T4v7vz9nyPI/AAAAAAAAGc0/GnGG24TE-XM/clip_image001%25255B30%25255D%25255B3%25255D.jpg?imgmax=800" width="180" height="240" /></a></td> <td valign="top" width="133"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S_qZwDmgTdI/AAAAAAAAEFQ/_uKG_-b6_Z8/s1600-h/1695-large%5B3%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[32]" border="0" alt="clip_image001[32]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHgS9b5zybLzvIFFnviC8Bmf2fyXqNb6OMKgJh5xPw-APlOftKsTIiNr1hHRlJqnbSf0ixvpQZw_j-8otrGEy94xQVYMnwU08xf0R2OdSVaGVsgV45CfrsiYuzIOKOo06vjrjsc3klbiPV/?imgmax=800" width="188" height="240" /></a></td> </tr> <tr> <td valign="top" width="133"><em>‘Afghan Girl’</em> by Steve McCurry</td> <td valign="top" width="133"><em>‘Isambard Kingdom Brunel’</em> by Robert Howlett</td> <td valign="top" width="133"><em>‘Christine Keeler’</em> by Lewis Morley</td> </tr> <tr> <td valign="top" width="133"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S_qZxPFJTkI/AAAAAAAAEGA/bqRBxlZzREY/s1600-h/ernest-hemingway%5B4%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[34]" border="0" alt="clip_image001[34]" src="http://lh4.ggpht.com/-wNKCE92zSoQ/T4v7x2iFppI/AAAAAAAAGdI/pYMQv7lmRdM/clip_image001%25255B34%25255D%25255B3%25255D.jpg?imgmax=800" width="185" height="240" /></a></td> <td valign="top" width="133"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S_qZzNcmAQI/AAAAAAAAEGI/2LRc3xhxiPM/s1600-h/neil-armstrong-astronaut-buzz-aldrin-lunar-module-pilot-walks-on-the-surface-of-the-moon-near-the-leg-of-the-lunar-module-lm-1969%5B4%5D.jpg"><img style="border-right-width: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" title="clip_image001[36]" border="0" alt="clip_image001[36]" src="http://lh3.ggpht.com/-q47ZYpDQdaE/T4v7y_sQgfI/AAAAAAAAGdM/B3mkdRYkqik/clip_image001%25255B36%25255D%25255B3%25255D.jpg?imgmax=800" width="200" height="200" /></a></td> <td valign="top" width="133"><a href="http://lh4.ggpht.com/-dx6dt5qumq0/T5Fz5_IfyPI/AAAAAAAAGkw/NWUWs_i-vPw/s1600-h/newton%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="newton" border="0" alt="newton" src="http://lh5.ggpht.com/-zugGC11mndE/T5Fz7DdHQSI/AAAAAAAAGk4/VfpocY_pWn4/newton_thumb%25255B1%25255D.jpg?imgmax=800" width="227" height="240" /></a> </td> </tr> <tr> <td valign="top" width="133"><em>‘Ernest Hemmingway’</em> by Yousef Karsch</td> <td valign="top" width="133"><em>‘Buzz Aldrin’ </em>by Neil Armstrong</td> <td valign="top" width="133"><em>‘They’re Coming’</em> by Helmut Newton</td> </tr> </tbody></table> <div align="justify">All these photographs feature people.  There are iconic photographs that are not portraits, but I am concentrating my efforts on the iconic portrait because that is what I am trying to achieve in my work.</div> Most of these photographs looks too ‘obvious’ for me to research, but that is the whole point. Iconic images are well known to most of us. <br />The rest of my research on iconic images will be featured further in my journal in the section ‘THE ICONIC IMAGE’. Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-91364394344285179962010-04-08T11:57:00.001+01:002012-04-16T12:03:24.539+01:00Moira Lovell<p align="justify">I’m really sorry that I missed ‘The Narrators’ Gaze’ at the National Coalmining Museum on 26 March.  Unfortunately, I had a meeting at Bolton Hospital which I couldn’t miss.  </p> <p align="justify">I have, however, been looking at the images of the photographers involved and the style of Moira Lovell is similar to mine.    Her website is:  <a href="http://www.moiralovell.com/photo/2/2.html">http://www.moiralovell.com/photo/2/2.html</a></p> <p align="justify">I love her project ‘The After School Club’ of 2006/2007, in which she photographs of young people who dress in school uniform to go to a nightclub,  in front of gates of their secondary schools. </p> <p align="justify">This website - <a href="http://www.joaohenriques.com/abitpixel/moira-lovell-the-after-school-club/">http://www.joaohenriques.com/abitpixel/moira-lovell-the-after-school-club/</a> – provides useful comment, adding that her project:</p> <p align="justify"><em>“[…] dissected the topic of school uniforms, dress, offering a look sexualized and childish, non-threatening sexuality of the woman, before the male gaze, whereas in the educational system, the purpose of clothing is to provide a homogenous identity, not stimulating competition. It is suggested that schools as disciplinary institutions, seem in part to create a core group of obedient followers of the male gaze.”</em></p> <table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S722YSlvW3I/AAAAAAAAD_0/JDmDoiSFrnI/s1600-h/lovell01%5B4%5D.jpg"><img title="clip_image001" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="221" alt="clip_image001" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggR2RPF-UxaHFDOlk9eVOJ3PtG3DdtJK6UDf3vT53FBo9O9_l_2HACXdoWWzLxR1i8QBEH-N_y_muaBAba2hCZ21ON_W4-Qvs5FD4JLJjCNPvCXtPgnLY1f5z08fBnmncCFXyubTO59U80/?imgmax=800" width="308" border="0" /></a></td> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S722ZcTK61I/AAAAAAAAD_8/BCeSQtqjRrE/s1600-h/lovell02%5B4%5D.jpg"><img title="clip_image001[6]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="246" alt="clip_image001[6]" src="http://lh3.ggpht.com/-b59hAHhE43s/T4v8cfSexBI/AAAAAAAAGdo/7E4VhvoG6vA/clip_image001%25255B6%25255D%25255B4%25255D.jpg?imgmax=800" width="308" border="0" /></a></td> </tr> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S722bXnAxLI/AAAAAAAAEAI/-Z5BL7Ya8XQ/s1600-h/lovell03%5B4%5D.png"><img title="clip_image002" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="219" alt="clip_image002" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpuEiaF07H0rU4hIEcid1LwwMuMB-N4y1fa1bPHIvQF3ZjpTHrDmf__1DeLwX91xPFmBJVJHNcxDqAS_6RBD3Ay70Wu45_9x95WOqpcuLMzqelXoQveAc-vFu-myUPK1nttzP3WUdaq5l0/?imgmax=800" width="308" border="0" /></a></td> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S722oW4dLfI/AAAAAAAAEAc/sWZqkKa0XYY/s1600-h/lovell06%5B4%5D.png"><img title="clip_image002[5]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="218" alt="clip_image002[5]" src="http://lh3.ggpht.com/-I-gk5rIgl7E/T4v8eb0ecxI/AAAAAAAAGd4/SoNf5cCr9gY/clip_image002%25255B5%25255D%25255B4%25255D.jpg?imgmax=800" width="308" border="0" /></a></td> </tr> </tbody></table> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-20131659792414901462010-04-05T16:52:00.001+01:002012-04-16T12:16:48.095+01:00Deadpan Photography<p>My Nightworkers images can be described as ‘deadpan’.  </p> <p align="justify">Vinegar describes deadpan photography as an approach to photographic presentation that is “devoid of subjective emotion or affect” and that is has been used to describe some of the photographic practices of Robert Smithson, Bernd and Hilla Becher, Lewis Baltz, Stephen Shore, Andreas Gursky, Candida Hofer, Hans Haacke, Thomas Barrow, and Sol Le Witt (Vinegar, 2009:854).  Cotton describes the deadpan aesthetic is a cool, detached and keenly sharp type of photography and contains seemingly emotional detachment and command on the part of the photographer and that the adoption of a deadpan aesthetic moves art photography outside the hyperbolic, sentimental and subjective and describes deadpan photographs as: </p> <p align="justify"><em>“[…] so technically well done, pristine in their presentation, rich with visual information, and with a commanding presence, lent themselves well to the newly privileged site of the gallery as a place for seeing photography.”</em> (Cotton, 2009: 81)</p> <p align="justify"> <br />Vinegar states that Bernd and Hilla Becher claimed that their way of looking at things was ‘‘‘cool’’ and without an artist’s subjective expression’. (Vinegar, 2009:854).  Vinegar adds that deadpan photography is often used as a way to suggest an ironic distancing from, and critical commentary on, issues of artistic skill, and the traditions of expressive art photography or ‘committed’ documentary photography (to jump ahead a bit, I would claim that the deadpan is not fundamentally ironic at all). (Vinegar, 2009:854). Vinegar states that the deadpan approach is a mode of photography that seems emotionally detached or ‘neutral’ because it does not make outright judgments, and thus tends to emphasize what might be called an ‘evidentiary’ condition (Vinegar, 2009:854). </p> <p align="justify"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7oHGUsR6PI/AAAAAAAAD6k/IfjsIdsU6yM/s1600-h/becher%2001%5B4%5D.jpg"><img title="clip_image002" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="323" alt="clip_image002" src="http://lh6.ggpht.com/-akywPiABpZ8/T4v_FmhQ1EI/AAAAAAAAGeA/Mx1eeU5k9oA/clip_image002%25255B5%25255D.jpg?imgmax=800" width="408" border="0" /></a></p> <p align="justify"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7oHHnOEGHI/AAAAAAAAD6s/BGti5tc4xZ8/s1600-h/becher%2002%5B4%5D.jpg"><img title="clip_image002[6]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="510" alt="clip_image002[6]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAnv-5WHC9DLFrBkq38WUg3Ux1pAeGcPvBUC6p0X7kfriZRDyAVEkGPeiLIx7HqTdzjhYWzRrK_i35eLNyvKFJK0VNVcwhcvP3UXMxa_B3a4fbsiTqeGzIjbrwcCrc-4S34zIF-lVQoyAj/?imgmax=800" width="408" border="0" /></a></p> <p align="justify">Nairne and Howgate state that the cross-over between the world of art and pure photography, whether studio or documentary work, has been productive in terms of critical and wider debate about portraiture and that the development of the deadpan aesthetic by Thomas Struth and Thomas Ruff emerged in sharp contrast to Mapplethorpe’s provocative portraits of naked men.  (Nairne and Howgate, 2006:13).  The deadpan aesthetic became popular in the 1990s and is used in landscape, architectural, portrait and documentary photography.  However not everyone is in love with this aesthetic.  George Pitts, director of photography at Vibe magazine stated: </p> <p align="justify">“Portrait photography is moving toward staged and authentic realism.  Right now there is too much deadpan, humorless realism that is staged […] and distinguished largely by its use of irony or extreme sharpness.  I’d like to see a deeper pursuit of well-crafted, risk-taking, yet compassionate photography.” (Begleiter, 2003:105) </p> <p align="justify">Vinegar states that the descriptive qualities that are attributed to the deadpan – the flattening out of expression, the evenness of affect, its monotone colouration, its apparent disinterest and distance from any engaged relationship to the world – are also the qualities of ‘indifference’. (Vinegar, 2009:864) </p> <p align="justify">Cotton explains that the deadpan aesthetic is often characterized as ‘Germanic’ which refers not only to the nationality of many of the key figures but also to the fact that a significant number were educated under the tutelage of Bernd Becher, at the Kunstakademie in Dusseldorf, Germany which encouraged its students to create independent and artistically led pictures (Cotton, 2009: 82).  She adds that this ‘Germanic’ style refers to the traditions of 1920s and 1930s Germany photography known as New Objectivity (Neue Sachlichkeit) (Cotton, 2009: 82) </p> <p align="justify">Cotton states that Albert Renger-Patsch, August Sander and Erwin Blumenfeld are considered the forefathers of today’s deadpan photography and explains that they created typologies of nature, industry, architecture and human society through the sustained photographing of single subjects, their most resounding influence on contemporary art photography (Cotton, 2009: 82) </p> <table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="133"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7oHIqEsrVI/AAAAAAAAD60/Qt8z4JuBoZc/s1600-h/patch%5B4%5D.jpg"><img title="clip_image002[8]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="240" alt="clip_image002[8]" src="http://lh5.ggpht.com/-sSWx3xII7Qs/T4v_HlezFZI/AAAAAAAAGeQ/2dCIKH16IIM/clip_image002%25255B8%25255D%25255B3%25255D.jpg?imgmax=800" width="179" border="0" /></a></td> <td valign="top" width="133"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S7oHJ2QIG-I/AAAAAAAAD68/aJbXadcEoYQ/s1600-h/sander%5B4%5D.jpg"><img title="clip_image002[10]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="240" alt="clip_image002[10]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjldROcjvLGbdKMMljBWx5qMaLzwv_u0Nn479-tPyOgG0ku-4UYyYONFGsuH_2NU4QTJdtge6953ghmE-niyRGS5AhacEg9FWpRFGulGZ32gQKvDcBW4WLBs5oGOSf63vvnaTEDPkcPHwbE/?imgmax=800" width="193" border="0" /></a></td> <td valign="top" width="133"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7oHK7QvR9I/AAAAAAAAD7M/xBtSD0M_Jlk/s1600-h/blumenfield%5B5%5D.jpg"><img title="clip_image002[12]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="240" alt="clip_image002[12]" src="http://lh3.ggpht.com/-pCMtp_wSKRA/T4v_JX8OjdI/AAAAAAAAGeg/I1r9WSyo2wY/clip_image002%25255B12%25255D%25255B3%25255D.jpg?imgmax=800" width="186" border="0" /></a></td> </tr> </tbody></table> <p align="justify">Cotton explains that Bernd and Hilla Becher were highly influential in the shaping of contemporary deadpan photography (Cotton, 2009: 82) and adds that their collaboration on series of black-and-white photographs of industrial architecture, such as water towers, gas tanks and mine heads, began in 1957 and is ongoing (Cotton, 2009: 82-83).  She points out that each building within a series is photographed from the same perspective, notes on each are taken, and a typology is systematically created (Cotton, 2009: 83) </p> <p align="justify">Vinegar cites Thierry de Duve’s comments on how Bernd and Hilla Becher’s industrial photographs are shot under a set of uniform conditions that emphasize an evenness of tone and setting which, encourages a heightened awareness of minute aesthetic differences. (Vinegar, 2009:864).  He adds that their series of water towers look alike at first glance, but they begin to awaken in us an ability to see how ‘the universe of things’ can become a way of relating and responding to each something and someone – co-existing, one might say and that we no longer see them merely as ‘brute facts’ that are ‘objectively present’ to be tabulated and compared in ‘typologies’ as the Bechers might say. (Vinegar, 2009:864) </p> <p align="justify">Vinegar states the ‘cool’ and ‘objective’ images demonstrate that deadpan photography encompasses within itself the realm of the factual, and that it raises, rather than merely reflects, the possibility that ‘our’ failures of sensibility and responsiveness to how factuality might relate to facticity can manifest in a form of ‘coldness’ towards the world. (Vinegar, 2009:864-865) </p> <p align="justify">Cotton believes that the photographer who has come to stand as the figurehead of contemporary deadpan photography is Andreas Gursky (Cotton, 2009: 83) </p> <table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S7oHkG7PstI/AAAAAAAAD7c/DVeyreeCXvw/s1600-h/gursky%2001%5B4%5D.jpg"><img title="clip_image002[14]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="209" alt="clip_image002[14]" src="http://lh3.ggpht.com/-o-65-vQ3WwU/T4v_KfNK-6I/AAAAAAAAGek/Ga6cq1fnL_A/clip_image002%25255B14%25255D%25255B4%25255D.jpg?imgmax=800" width="308" border="0" /></a></td> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S7oHlndnb5I/AAAAAAAAD7k/1mi5nb168jw/s1600-h/gursky%2002%5B4%5D.jpg"><img title="clip_image002[16]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="291" alt="clip_image002[16]" src="http://lh4.ggpht.com/-tX03JOQCecw/T4v_LXI3SZI/AAAAAAAAGew/T_jpkD7rVvE/clip_image002%25255B16%25255D%25255B4%25255D.jpg?imgmax=800" width="195" border="0" /></a></td> </tr> </tbody></table> <p align="justify">She states that Gursky’s images are not dependent on being viewed as part of a series and every photograph he releases has a good chance of contributing to the high reputation enjoyed by his work as a whole and because of this, Gursky avoids the riskier strategy that most photographers follow of making different and distinguishable bodies of work (Cotton, 2009: 83).  She adds that although Gursky commands a dominant position within our understanding of the capacities of deadpan photography, he by no means holds the patent on either style or its range of subjects (Cotton, 2009: 85) </p> <p align="justify">According to Cotton, one of the most influential portrait photographers of the 1980s was German artist Thomas Ruff (Cotton, 2009: 95).  She adds that Ruff began photographing head-and-shoulder images of his friends, reminiscent of passport photographs, although considerably larger in format (Cotton, 2009: 95) and that sitters chose the backdrop in front of which they would be photographed.  Ruff asked his subjects to remain expressionless and look straight at the camera (Cotton, 2009: 106).  She explains that the blank expression and lack of visual triggers (gestures) confound our expectations of discovering a person’s character through their appearance (Cotton, 2009: 106) </p> <table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="100"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7oH6I9CQnI/AAAAAAAAD7s/Bk2OSatg7Gs/s1600-h/ruff%2001%5B4%5D.jpg"><img title="clip_image002[18]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="209" alt="clip_image002[18]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgXjOkf27O2mIemWE76pKxlZ20iJFSS1w4003OOt0_4ut9JycW93RbPJQFaztx1oKCaE32Lbr9x6UKpdOaOQELjZooRYdNOekh8RMgVxCz0V6SQcI7G8C8BlOvFS3s43M62t4bTwN9t5hW/?imgmax=800" width="179" border="0" /></a></td> <td valign="top" width="100"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7oH7dT1q0I/AAAAAAAAD70/g-J_NNO8uA4/s1600-h/ruff%2002%5B4%5D.jpg"><img title="clip_image002[20]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="209" alt="clip_image002[20]" src="http://lh3.ggpht.com/-3DQeRqVTDT0/T4v_NdLGnFI/AAAAAAAAGe8/h86e9Nb9bD4/clip_image002%25255B20%25255D%25255B3%25255D.jpg?imgmax=800" width="156" border="0" /></a></td> <td valign="top" width="100"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S7oH8Svw-hI/AAAAAAAAD78/-iGmEcaxAag/s1600-h/ruff%2003%5B4%5D.jpg"><img title="clip_image002[22]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="209" alt="clip_image002[22]" src="http://lh5.ggpht.com/-hpUCO5TdvT8/T4v_OW1wGJI/AAAAAAAAGfE/3iMErXMP83w/clip_image002%25255B22%25255D%25255B3%25255D.jpg?imgmax=800" width="158" border="0" /></a></td> <td valign="top" width="100"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S7oH9px20AI/AAAAAAAAD8E/KOoexP4Tfs0/s1600-h/ruff%2004%5B4%5D.jpg"><img title="clip_image002[24]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="209" alt="clip_image002[24]" src="http://lh4.ggpht.com/-NIFve0pTK7c/T4v_PVy_IaI/AAAAAAAAGfM/qXHYvUNXPT4/clip_image002%25255B24%25255D%25255B3%25255D.jpg?imgmax=800" width="160" border="0" /></a></td> </tr> </tbody></table> <p align="justify">Hiroshi Sugimoto photographed museum waxworks and Cotton states that his black and white photographs highlight how we unconsciously respond to photographic representation of human forms.  We know that this photograph does not depict a real human being but a recent romanticized model of a queen [right] from British history.  Our response to Sugimoto’s waxwork pictures is to enquire into the subjects’ characters and personalities as if they were photographs of living people (Cotton, 2009: 107). </p> <table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="133"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7oItE6mB4I/AAAAAAAAD8M/i_ZpNqfIcHQ/s1600-h/hiroshi%20sugimoto%2001%5B4%5D.jpg"><img title="clip_image002[26]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="240" alt="clip_image002[26]" src="http://lh6.ggpht.com/-fSvSTi3rSSQ/T4v_QdRFTCI/AAAAAAAAGfU/tcV8fEcU1Do/clip_image002%25255B26%25255D%25255B3%25255D.jpg?imgmax=800" width="191" border="0" /></a></td> <td valign="top" width="133"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7oIuS9Z11I/AAAAAAAAD8U/6i4k_usvlVY/s1600-h/hiroshi%20sugimoto%2002%5B4%5D.jpg"><img title="clip_image002[28]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="240" alt="clip_image002[28]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2q-zq5NSQTooBpqiwlOKCQ_KIaUQlrZYjV-qVIAGnykJa5rj5QbL8IQXrzWvGeBjR3avjTUJha-Hi_uvt9y6Qg6XifbT2p2gEur70uECAaZmK-q0lHq72I3d9oDIVxnpC-0A29CKxWhdN/?imgmax=800" width="192" border="0" /></a></td> <td valign="top" width="133"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7oIvXpR3cI/AAAAAAAAD8c/LuVjaBBloP4/s1600-h/hiroshi%20sugimoto%2003%5B4%5D.jpg"><img title="clip_image002[30]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="240" alt="clip_image002[30]" src="http://lh4.ggpht.com/-bV92VnBxaKs/T4v_SIhMs2I/AAAAAAAAGfo/E-yPsrBR_s4/clip_image002%25255B30%25255D%25255B3%25255D.jpg?imgmax=800" width="173" border="0" /></a></td> </tr> </tbody></table> <p align="justify"><em>“Anne Boleyn [above, right] is a brilliant summation of how we automatically search for evidence of character, even in a waxwork, because of the animated impression a photograph suggests.”</em> (Cotton, 2009: 107). </p> <p align="justify">Cotton states that Sugimoto’s and Ruff’s objectively styled pictures dramatically curtail our expectations that we can know anything essential about a person through their photographic image and that: </p> <p align="justify"><em>“The ideas that the signs of our biographical details are mapped onto our faces and that our eyes are the windows into our soul is brought into question.”</em> (Cotton, 2009: 107) </p> <p align="justify">Cotton states that if there are realities or truths held within the deadpan portrait, they revolve around very subtle signs of how people react to being photographed; the observations artists make are about how their subjects address the camera and photographer in front of them (Cotton, 2009: 107) </p> <p align="justify">Cotton states that street portraiture is arguably the most prevalent context for deadpan portrait photography  (Cotton, 2009: 107).  She explains that Joel Sternfeld’s portraits do more than raise the question of what we can assume to know about a sitter from their outward appearance. They also propose the facts of what has transpired: that Sternfeld has negotiated with a stranger to photograph them at a polite distance, asking them simply to halt what they are doing and prepare to be photographed (Cotton, 2009: 107-108).  She adds that the subject’s reaction to what is happening, which includes their resistance, their ambivalence about this brief break in their routine, becomes the portrayed ‘fact’ (Cotton, 2009: 108) </p> <table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S7oIwif6zSI/AAAAAAAAD8k/AuUPqxNjaR8/s1600-h/sternfeld%2002%5B5%5D.jpg"><img title="clip_image002[32]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="220" alt="clip_image002[32]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXzHvEu74o2Gg2q3DZeYOTvzcxM6Ftzd5f03odiWl8QbynYFNnF6TffaF0xvSYqGpnTdD85rxjxuCpXjJDrPhmXquk-0fDUok_324tfYEzAeKpd9BZdHlzsm7cvNXc5FddpSfVa8EQfKcu/?imgmax=800" width="275" border="0" /></a></td> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S7oIx0FN4FI/AAAAAAAAD8s/hMIdPTTf6zU/s1600-h/sternfeld%2001%5B5%5D.jpg"><img title="clip_image002[34]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="205" alt="clip_image002[34]" src="http://lh5.ggpht.com/-VB5X9yZ-yo0/T4v_T0TKwgI/AAAAAAAAGf0/UetukhidhLs/clip_image002%25255B34%25255D%25255B4%25255D.jpg?imgmax=800" width="303" border="0" /></a></td> </tr> </tbody></table> <p align="justify">Cotton states that Sternfeld photographs people at a respectable distance.  Most of his subjects are aware that they are being photographed and simply stop their activity for the duration of the photograph.  Sternfeld’s selection of strangers is not a rigid typology. While there are archetypal elements such as the depiction of city traders or housemaids, he also portrays strangers whose appearance does not confirm who or what they are (Cotton, 2009: 108) </p> <p align="justify">Cotton explains that the search for subtle visual interest is a guiding force in Jitka Hanzlova’s Female series, in which she photographs women of different ages and ethnic origins in cities she visits and that there is a developing typology; individual styles and characters seem to become legible because of Hanzlova’s serial and systematic approach and adds that how each woman reacts to the camera gives us information about her state of mind (Cotton, 2009: 108).  She points out that it is on this that our imaginings about the sitters pivot, reinforced by the similarities and differences between the images of a single series (Cotton, 2009: 108).  Cotton explains that the photographs have a neo-objective quality in the way in which each woman is shown facing and acknowledging the photographer.  Because it is a series, the similarities and differences between the women’s attitudes and locations become a way for us to apply subjective reasoning to what, beyond their gender, connects and distinguisher these women (Cotton, 2009: 109) </p> <table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="133"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S7oIy166FbI/AAAAAAAAD80/ifLsCD80btY/s1600-h/Jitka%20Hanzlova%2001%5B5%5D.jpg"><img title="clip_image001" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="240" alt="clip_image001" src="http://lh5.ggpht.com/-x9G1xO1FYeg/T4v_UhAv8UI/AAAAAAAAGf8/kItIZGxU7FU/clip_image001%25255B8%25255D.jpg?imgmax=800" width="156" border="0" /></a></td> <td valign="top" width="133"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7oI0J7CIxI/AAAAAAAAD88/LpUYb-AAZOM/s1600-h/Jitka%20Hanzlova%2002%5B4%5D.jpg"><img title="clip_image001[4]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="240" alt="clip_image001[4]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUEZ0rHygyNOWaYKWaxvK_VH3FCnHpX9P6Kh5V3zDrhlmW_UTKa_p_QNIt213MzlNi8hHv6axUCz8Pa42f_MRB5OErwwM66hx5cnSFgxAvR5sfkhhBLrniGt_EFU1HtYFtovJHRWTXEc79/?imgmax=800" width="162" border="0" /></a></td> <td valign="top" width="133"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S7oI1CAdmZI/AAAAAAAAD9E/iFzc2B-uF44/s1600-h/Jitka%20Hanzlova%2003%5B4%5D.jpg"><img title="clip_image001[6]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="240" alt="clip_image001[6]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih5dNuyJu0kZecwaU96qzkSG95GrzQyrGa1BVOKfc9ITrBJv4XZAKy7ES0cdTu6WF1g36Y7nJmVqTpXPkQnBYItyP5oZRD97fN0eNQCalCkdsbiJx1mmrdEsmTrNZGVL-6aHaTmO13fHAp/?imgmax=800" width="159" border="0" /></a></td> </tr> </tbody></table> <p align="justify">Cotton states that Norwegian artist Mette Tronvoll produced a number of series of pictures of remote communities in Greenland and Mongolia that portray the people and their environments, photographing single people and groups in the street which acted as the backdrop (Cotton, 2009: 109).  She explains that the convention of photographers working in the deadpan aesthetic to belie the choice of camera angle to selecting the most simple and neutral stance means that we feel our relationship to the people portrayed is direct and that as we look at them, they look back at us (Cotton, 2009: 109) </p> <table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S7oKDj3eb1I/AAAAAAAAD9M/lpcHBPrKcfY/s1600-h/Mette%20Tronvoll%2001%5B4%5D.jpg"><img title="clip_image002[36]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="259" alt="clip_image002[36]" src="http://lh4.ggpht.com/-m0tHSXDnB3Q/T4v_XxFFFmI/AAAAAAAAGgU/oqCSDpZxanQ/clip_image002%25255B36%25255D%25255B4%25255D.jpg?imgmax=800" width="259" border="0" /></a></td> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S7oKE8jsnAI/AAAAAAAAD9U/1EXUe853r_4/s1600-h/Mette%20Tronvoll%2002%5B4%5D.jpg"><img title="clip_image001[9]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="230" alt="clip_image001[9]" src="http://lh3.ggpht.com/-pkFmpvp2yco/T4v_YWO2B6I/AAAAAAAAGgg/dVogkZ5Sd5Q/clip_image001%25255B9%25255D%25255B4%25255D.jpg?imgmax=800" width="281" border="0" /></a></td> </tr> </tbody></table> <p align="justify">Cotton explains that Albrecht Tubke’s Celebration series takes place on the sidelines of processions at public festivals (Cotton, 2009: 109).  She adds that he invites his subjects to step out of the crowd and then photographs them individually as they cease their revelry for a moment (Cotton, 2009: 109-110). </p> <table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S7oKGBIAgXI/AAAAAAAAD9c/It4ZzkHmvoE/s1600-h/Albrecht%20Tubke%2003%5B4%5D.jpg"><img title="clip_image002[38]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="289" alt="clip_image002[38]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglAga7UIPM7ZJH54nrdwL97o8atdf_-645x15GbzXm4rAnc1ziLvPrlnfgR6Fmqj-XOH9BNsk3UQXD3gu3AptJPnsxcHppPFkSU5Wv6GF177QtJZ79RjTmht0z5qvn56lTXs0mytKa6zdm/?imgmax=800" width="226" border="0" /></a></td> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7oKHQApvNI/AAAAAAAAD9k/QLqdUTOqGSM/s1600-h/Albrecht%20Tubke%2004%5B4%5D.jpg"><img title="clip_image002[40]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="297" alt="clip_image002[40]" src="http://lh5.ggpht.com/-kkXMn1TdQ2c/T4v_dmWb3LI/AAAAAAAAGgw/HECtq5hBUKs/clip_image002%25255B40%25255D%25255B4%25255D.jpg?imgmax=800" width="242" border="0" /></a></td> </tr> </tbody></table> <p align="justify">Cotton explains that Rineke Dijkstra photographed children and young teenagers on beaches as they came out of the sea in the early to mid-1990s (Cotton, 2009: 111-112).  She adds that Dijkstra captured the vulnerability and physical self-consciousness of her subjects as they were caught in that transitional space of exposure between the protection of being in the water and the anonymity of sitting or lying on a beach towel (Cotton, 2009: 112) </p> <table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S7oL5yUxb-I/AAAAAAAAD9s/FP8m_gHkArs/s1600-h/Rineke%20Dijkstra%2001%5B4%5D.jpg"><img title="clip_image002[42]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="293" alt="clip_image002[42]" src="http://lh3.ggpht.com/-Uf-otYpyCyA/T4v_evtNGwI/AAAAAAAAGg4/LrxiEXKX3OY/clip_image002%25255B42%25255D%25255B4%25255D.jpg?imgmax=800" width="234" border="0" /></a></td> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7oL7FOi7eI/AAAAAAAAD90/UbSZIsyO8pI/s1600-h/Rineke%20Dijkstra%2004%5B4%5D.jpg"><img title="clip_image002[44]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="300" alt="clip_image002[44]" src="http://lh3.ggpht.com/-kmXA-yaEgtw/T4v_itoZ6WI/AAAAAAAAGhA/CyFmIqCu_yE/clip_image002%25255B44%25255D%25255B7%25255D.jpg?imgmax=800" width="233" border="0" /></a></td> </tr> </tbody></table> <p align="justify">Cotton points out that Dijkstra also chose a particular moment or space in which to portray her subjects is a governing element of Dijkstra’s work and that in her 1994 portraits of matadors, she photographed the men soon after their bullfights:</p> <p align="justify"><em>“bloodied and with their adrenaline subsiding, their performance and guard dropping away as Dijkstra worked.”</em> (Cotton, 2009: 112) </p> <table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S7oL8FCkfgI/AAAAAAAAD98/WsAT6Lfh0hQ/s1600-h/Rineke%20Dijkstra%2003%5B4%5D.jpg"><img title="clip_image002[46]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="351" alt="clip_image002[46]" src="http://lh6.ggpht.com/-es8rS_ecpds/T4v_jW2h4vI/AAAAAAAAGhI/OqqljEvGufo/clip_image002%25255B46%25255D%25255B4%25255D.jpg?imgmax=800" width="273" border="0" /></a></td> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S7oL9dZTsAI/AAAAAAAAD-E/4_XnpeoTugQ/s1600-h/Rineke%20Dijkstra%2005%5B4%5D.jpg"><img title="clip_image002[48]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="347" alt="clip_image002[48]" src="http://lh6.ggpht.com/-NlnMHKdI5w4/T4v_kJIK1AI/AAAAAAAAGhQ/AwGZB7rO6tM/clip_image002%25255B48%25255D%25255B4%25255D.jpg?imgmax=800" width="262" border="0" /></a></td> </tr> </tbody></table> <p align="justify">Cotton explains that in 1994, she photographed three women: the first, one hour after giving birth; the second, within one day, and the third, after one week and that this unsentimental approach that in her representation of maternity focuses on the impact of pregnancy and labour on the women, its legibility perhaps lost once the women have begun to recover (Cotton, 2009: 112).  She adds that these photographs visualize the profound shift in the women’s changing relationships to their bodies and the instinctive protection they demonstrate towards their newborn babies, something we might never have observed without such a systematic and detached photographic style (Cotton, 2009: 112). </p> <table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S7oL-VrWHvI/AAAAAAAAD-M/B3BDt-zV5o0/s1600-h/Rineke%20Dijkstra%2002%5B4%5D.jpg"><img title="clip_image002[50]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="306" alt="clip_image002[50]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHwk6Lqp_S0_DcPnAVFM-M4gss-fNharukpT8CiRjkcyOtCQwOdgYW2oRaS1wskDg4K-Bmif9WqmIZ7yDmTqxuiTD4D-ewD_HwNwMWbJ0h1jybz1DAqHGjlgpd4ooHpAt8dV_MNUAAwwOO/?imgmax=800" width="236" border="0" /></a></td> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S7oL_YuW7jI/AAAAAAAAD-U/XY2h6XxawJQ/s1600-h/Rineke%20Dijkstra%2006%5B4%5D.jpg"><img title="clip_image002[52]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="298" alt="clip_image002[52]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv-QK6FPIL72fsxTcTNXdtuy2TfvG0vSxaI7FQcJWrb3YByqIj4coX1IQqnF0eMffYQGTdRBTlttBgoNFs3EcsxDFe_RrBxteK_7Z2XfHJ5wb0v-m9VvSfJc1kip3P_IP-qwnnDmUyhsN0/?imgmax=800" width="239" border="0" /></a></td> </tr> </tbody></table> <p align="justify">Vinegar looks at the work of Ed Ruscha, where his work is described as a: </p> <p> <em>“nonjudgmental approach to the existing environment, providing a model of receptivity and openness to ‘the very immanent world around us’ at odds with premature systematizing and moralizing judgments about the everyday environment of American urban sprawl.” <br /></em>(Vinegar, 2009:854) </p> <p align="justify">He states that Ruscha’s deadpan approach to photography is marked by an ‘aesthetic of indifference’. (Vinegar, 2009:858) </p> <p align="justify"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S7oMAQ4sZfI/AAAAAAAAD-s/vCKJA5_a_5U/s1600-h/ruscha%2001%5B6%5D.jpg"><img title="clip_image002[54]" style="border-right: 0px; border-top: 0px; display: inline; margin-left: 0px; border-left: 0px; margin-right: 0px; border-bottom: 0px" height="232" alt="clip_image002[54]" hspace="12" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimzsGMouB5xHMN60d0-YP-Bn2HlTWfShz2Xi_h8eb7DP3gzM0A-ygzha1FdRG48GlXwAlx8KAWsw-PUXluUfJzvJLZTb5CcKwluTDrjGO0uEUuSdCtnXh1IFt0tsWa7M4sH0H4tmE_Pgso/?imgmax=800" width="342" align="left" border="0" /></a></p> <p align="justify">Vinegar states that it is important to note that the vocabulary of ‘indifference’, and ‘fact’ or ‘facticity’ seems to come into play regarding the deadpan aesthetic is raised in Ruscha’s work (Vinegar, 2009:858).  He adds that Ruscha claimed that his photographs were ‘technical data like industrial photography’ and that what he was after in his photographic books was ‘no style or a non-statement with a no-style’ that would result in a ‘collection of facts’. (Vinegar, 2009:858).  Vinegar believes that Ruscha’s account of his own work resonates with Roland Barthes’ claim in his essay :</p> <p><em>‘. . . That old thing, art . . .’, that pop art wants to ‘desymbolise the object, to give it the obtuse and matte stubbornness of a fact’. [The Responsibility of Forms – in BIHE library].</em>   (Vinegar, 2009:858) </p> <p align="justify">Vinegar states that ‘facticity’ could be used to suggest all the entities out there ‘in space’, and thus to describe Ruscha’s seemingly objective and disinterested accumulation and registering of that ‘data’ in his photographs without any overly conscious imposition of artistic selection or hierarchy. (Vinegar, 2009:858-859).   However, he adds that Barthes might use the word ‘facticity’ to suggest a condition of ‘factuality’ which refers to the objects of experience, which appear as things found at determinate points in space and time but are nonetheless contingent. (Vinegar, 2009:859) </p> <p align="justify"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S7oMBl-KssI/AAAAAAAAD-0/QI4k7MUyziQ/s1600-h/ruscha%2002%5B5%5D.jpg"><img title="clip_image002[56]" style="border-right: 0px; border-top: 0px; display: inline; margin-left: 0px; border-left: 0px; margin-right: 0px; border-bottom: 0px" height="297" alt="clip_image002[56]" hspace="12" src="http://lh4.ggpht.com/-QHhrASixsAQ/T4v_nlemBqI/AAAAAAAAGhs/wjT6Ry0KRfY/clip_image002%25255B56%25255D%25255B4%25255D.jpg?imgmax=800" width="313" align="left" border="0" /></a></p> <p align="justify">Vinegar states that to German philosopher, Martin Heidegger, factuality refers to all the sundry entities, things, or beings ‘in’ the world.  He adds that Heidegger and Ruscha equally provide long lists of these things in their works, be they houses, benches, footbridges, jugs, ploughs, or trees, records, pools, people, cakes, and gas stations. (Vinegar, 2009:859)  Vinegar explains that for Heidegger, facticity, in contrast to factuality, is a way of being-in-the-world rather than the fact of being an entity in the world. (Vinegar, 2009:859) </p> <p align="justify">Vinegar explains that Heidegger offers the relationship between facticity and factuality as a way of articulating the difference between beings as mere things, and beings that are aware of their being-in-the world in particular ways. (Vinegar, 2009:859) </p> <p align="justify">Vinegar says that facticity and factuality are thus inextricably entwined but are not reducible to one another and the difference between factictity and factuality makes all the difference in the world. (Vinegar, 2009:859) </p> <p align="justify">Facticity is a mode of questioning that opens up onto what Heidegger calls ‘ontological difference’, the primordial difference between beings and Being, between the ‘ontic’ and ‘ontological’ realms. We might call (ontological) ‘indifference’ the absence of ontological difference: it points to the reduction, levelling, or equation of Being with mere beings. Despite the words ‘reduction’ and ‘levelling’, Heidegger makes it clear that the analytic of Dasein must begin with indifference. (Vinegar, 2009:859) </p> <p align="justify">Vinegar believes that one of photography’s primary tasks is to embrace our exposure to ‘ontological indifference’ as the determinate condition for any kind of ontological difference to manifest itself.  (Vinegar, 2009:859) </p> <p><strong>Sources</strong></p> <p></p> <p>Cotton, Charlotte (2009) The Photograph as Contemporary Art: New Edition, London: Thames and Hudson</p> <p>Vinegar, Aaron (2009) Ed Ruscha, Heidegger, and Deadpan Photography, Art History Magazine, Volume 32, Issue 5, Association of Art Historians 2010</p> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-31322605615703412812010-03-29T12:40:00.001+01:002012-04-16T12:27:51.951+01:00Long Exposure Shots<p align="justify">To enhance the book, I will attempt to shoot a few long-exposures to emphasise night and time.  Star trails always look dramatic and the time can range from 5 minutes to 8 hours.  Obviously, the longer you expose for, the more dramatic the effect:</p> <p align="justify"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S7CRmqdnaZI/AAAAAAAAD4A/GI5pPJyJKPs/s1600-h/star_trails_sept_18-9_2006_9pm-6am%5B4%5D.jpg"><img title="clip_image001" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="199" alt="clip_image001" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl9N_7jbBXOpnrSh5I3_gHm-K9ja7joqkG91zAwfqWLR9aoy6RknhwzOMBVrkIHTLQFUgKM-6RNuvAMH-ORcoaV32pXR7DN4Y2j8c0lwRy9zz7tNdNA-5UfzWMPbg-vSn9O-3OfdFrk2H3/?imgmax=800" width="300" border="0" /></a></p> <p align="justify"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S7CRpoWbQiI/AAAAAAAAD4Q/bWlUbIdR7io/s1600-h/00Dvxk-26167884%5B4%5D.jpg"><img title="clip_image002" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="405" alt="clip_image002" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmAmI5w5FIGrfsprXpFllHaSbtuj0dAlrskgLsVvUKMaZnt9HoM9wElNuPoBdtpRSwzZ0ecI4XrddV7036eiBmxBuINdxD7xGCwu-eLEsyZ2qi_LAvPQMkpD6XpsHDv1PJy1Ex3GWDl8j8/?imgmax=800" width="272" border="0" /></a></p> <p align="justify"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7CRog6amQI/AAAAAAAAD4I/ELEmGzVlGbU/s1600-h/p229517147-4%5B4%5D.jpg"><img title="clip_image001[11]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="199" alt="clip_image001[11]" src="http://lh3.ggpht.com/-QYrJfP3AQ-s/T4wCJ0QLNYI/AAAAAAAAGiI/R6KzfVK5NX4/clip_image001%25255B11%25255D%25255B4%25255D.jpg?imgmax=800" width="300" border="0" /></a></p> <p align="justify">I found a good website - <a href="http://digital-photography-school.com/long-exposure-photography">http://digital-photography-school.com/long-exposure-photography</a> – which details how to do this using a digital camera.  I would like to use digital as all my other images are shot in this medium.</p> <table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S7CS1dR4Z4I/AAAAAAAAD4Y/txV1A6cWs5Q/s1600-h/night01%5B4%5D.jpg"><img title="clip_image001[13]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="200" alt="clip_image001[13]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy6TfiDhD1iOGVz8BwRvN8oKIVLcR9_hvpuIZ-yGbb0-jNLM31wg2WYuCdex1_8K1jCAlnxtB81qt3ey8SjbnoZsHlihejrsUIVsVrkLZZZXhUboqbli16gkQpyjfa9KXzKXOC3-VWSCVP/?imgmax=800" width="300" border="0" /></a></td> <td valign="top" width="200">114 secs</td> </tr> <tr> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7CS2w1V1KI/AAAAAAAAD4k/-0l3gTBZwuA/s1600-h/night02%5B4%5D.jpg"><img title="clip_image001[15]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="199" alt="clip_image001[15]" src="http://lh4.ggpht.com/-9giVHewGHP0/T4wCMUUmZoI/AAAAAAAAGiY/9b-0LSRxzxs/clip_image001%25255B15%25255D%25255B4%25255D.jpg?imgmax=800" width="300" border="0" /></a></td> <td valign="top" width="200">117.4 secs</td> </tr> <tr> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S7CS4NhEh4I/AAAAAAAAD4s/ZXfukrtPnOQ/s1600-h/night03%5B4%5D.jpg"><img title="clip_image001[17]" style="border-right: 0px; border-top: 0px; display: inline; border-left: 0px; border-bottom: 0px" height="199" alt="clip_image001[17]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisAxanAAaiGJk1cAtl2X11HxFg2vsw4T11Iqvh9BNytPlPz7lcSbTRz6bRwJsixpTw6coGCaystjUPFffuujh8QBen-UZ_A0_Vih5VENZT0CHiGSyQxlYdrwOwkNSIp-8_r_B0Mwt07_HS/?imgmax=800" width="300" border="0" /></a></td> <td valign="top" width="200"> <p>Composite of 100 shots - each of 30 seconds</p> </td> </tr> </tbody></table> <p>Obviously, when using a camera that relies on a battery, it may be necessary to create a picture containing a number of 30 second shots.  I have my old Pentax K1000 which I can use if all else fails.</p> <p align="justify">The technique is to try 5 minutes, then 10, then 15, then 45 minutes to see what the results are.  Experimentation is key here.  It is best to set the camera to the lowest ISO you can and focus to infinity.  It is suggested that the aperture be left open to its widest, but experimentation will produce the best results.  Location is important too.  I will wait for the next clear sky and see what I can produce.  </p> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-42102171062591584812010-03-05T17:18:00.002+00:002012-04-20T15:55:48.461+01:00Trades Union Banners<div align="justify">I visited the People’s History Museum in Manchester yesterday which contained a collection of Trades Union Banners.</div> <div align="justify"> </div> <div align="justify"><em>For hundreds of years, organisations that have a marching tradition have made banners in order to identify themselves. This includes trade unions, friendly societies, temperance groups, co-operative societies, Orange orders, suffrage, women's and peace organisations and political parties, but also non-political organisations like churches, chapels and Sunday schools. Political organisations that did not have a tradition of processions, like for instance the Anti Corn Law League or the anti-slavery movement, did not produce banners. Historians can 'read' banners for evidence in much the same way as documents.</em></div> <div align="justify"><em></em></div> <div align="justify"><em>The banners with which we are most familiar today are those of the mass trade union movement. The trade societies evolved into the skilled workers' New Model Unions of the 1850s onwards. These unions' banners retained many of the same elements, such as the tools and processes of the trade, of the earlier trade societies. The 1889 Great Dock Strike brought about a surge</em> in union membership from unskilled workers and a great demand for banners.</div> <div align="justify">(from the BBC History In-Depth website: Banners of the British Labour Movement - <a href="http://www.bbc.co.uk/history/british/empire_seapower/banners_01.shtml">http://www.bbc.co.uk/history/british/empire_seapower/banners_01.shtml</a>)</div> <div align="justify">The style in which I am photographing my workers is similar to the way workers are depicted on these banners – a sense of dignity, heroism and pride is captured.</div> <div align="justify"> </div> <table style="width: 400px" border="0" cellspacing="0" cellpadding="2"><tbody> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/-hTi4ouThPTQ/T5F3X4rSOEI/AAAAAAAAGlA/eINATH7RCf4/s1600-h/misc1%25255B2%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="misc1" border="0" alt="misc1" src="http://lh5.ggpht.com/-bAeJ_t52IuQ/T5F3ZMbPs8I/AAAAAAAAGlI/ROTswmmZCr0/misc1_thumb.jpg?imgmax=800" width="244" height="218" /></a> </td> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7jsHHqP0OnesgOx27DXXCFWZ1DUHxWgFs6fpFES6G4zFdrOt_A2Aw4RVefNhbvv-pqNQwwVL2h7blh70JHgVhdMBopo6HMv7LwAeLT91y8smGZK2w6Yn47pO_PmdRzAJ7TbNHG-o_u1D2/s1600-h/Bakers-banner_large%25255B2%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="Bakers-banner_large" border="0" alt="Bakers-banner_large" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJlTcH3rip6TlzC0ZBFRZPtA9jv4pm4bbD1vmR7ozRVmCiUHANl7m75eWKlB0dd8434rEKfMXUL2hCJflhcJ31141IIn5kTEbF7fbtWihb_9Gpvik2l34NK-AjpeNjH49TFHy25-O_LDA9/?imgmax=800" width="244" height="231" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="http://lh4.ggpht.com/-WA0y5JwfuZI/T5F3c84XL5I/AAAAAAAAGlg/N-rSed8PWuE/s1600-h/NS%252526F_Union_front%25255B2%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="NS&F_Union_front" border="0" alt="NS&F_Union_front" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_TY4Z3bX7q5xzzLWFXN0PFiaJXsgtiTpg4lUliCRO4vciBGHmqCj3HHGrmFho5oR6ooJwDiCLxeNd7zl6Z_U5kCn5FxKR6FBMTyVGk0jqS00ddWoqMEnKvgE_bgdMZ-lh1HIkRCjeUmE1/?imgmax=800" width="244" height="216" /></a> </td> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih4-FWotqm_QaFherkwzGXmsCIc04nb7FZAkpmR-GthD07riHIlLwwDc0_4C6QysI_BVRPOFGVYSQRSMynpD7Sl-FwDcpUl6JrTYFnngBA7CKQ6oBDl-zhb-CxTTjAA7DKuTYG3miw6WI/s1600-h/NUR_Wakefield2_back%25255B2%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="NUR_Wakefield2_back" border="0" alt="NUR_Wakefield2_back" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS1T6DBbAsmxIoYf4dIkeTSTA5QhJM1MFHC3qfZu19yCe0n-x4WdQY0Jqw-6oxkfY2YF957rQF-X8FnrIglZ7UDuFjAOFD9RGXklpk8m_ReNEqe-JKxLUS_VY-YGMXLI4dKFBrhCICrADO/?imgmax=800" width="244" height="227" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirl115nnzIM730DN6IfEw_KdEXoW2FHY-Db6yn6LiQK5o7BVlEJxvujce8CqgTC-0ijmE_bnLHrhgJ78xI7SecDbI-OzDw3uXwaGp7Kn2YW99KFWIkjaGFX9_fLyZfr4jh8qQEYJSVHBM/s1600-h/objimage%25255B2%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="objimage" border="0" alt="objimage" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz8pYxlOvxYa3biauAyglRuRPVDdwjozfnB8TCXXCMLi-EOHrU_Q-maF4SfUicV5aPSyFmLqahuq3oUCkjbYq0yMLV9RVjZWBz_CxcQ3sNyz9hQLG4bt4A-Blcsybkxgw_c8PBPby6dD7s/?imgmax=800" width="244" height="210" /></a> </td> <td valign="top" width="200"><a href="http://lh4.ggpht.com/-UOoE5jomhE4/T5F3kwl_VUI/AAAAAAAAGmQ/kghf46HB90s/s1600-h/NUR_Manchester_DC%25255B2%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="NUR_Manchester_DC" border="0" alt="NUR_Manchester_DC" src="http://lh6.ggpht.com/-x1ZvZPaqq3A/T5F3mT17beI/AAAAAAAAGmY/2yPS5oOfCkw/NUR_Manchester_DC_thumb.jpg?imgmax=800" width="244" height="199" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="http://lh5.ggpht.com/-dchJCglf0r8/T5F3nTJy96I/AAAAAAAAGmg/OAuRXwYL-H4/s1600-h/3561563035_9575a2f43c%25255B2%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="3561563035_9575a2f43c" border="0" alt="3561563035_9575a2f43c" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGQJCM67BjzczUw3PGym1H8Kw-49TKpvKmCFLYT5LpMF9jx28AEVT84qBXEu_Rbq_NDEDSRUEE2LT89znX_glUGa0-IZtZ9jgvZEVsaPXv-RLA5LGZh8TZ7eYubAqzihMJJ9qy6DqO04RL/?imgmax=800" width="213" height="244" /></a> </td> <td valign="top" width="200"> <p align="justify">The iconography of these banners included mines, mills, factories, but also visions of the future, showing a land where children and adults were well-fed and living in tidy brick-built houses, where the old and sick were cared for, where the burden of work was lessened by new technology, and where leisure time was increasing. <a href="http://lh6.ggpht.com/_njNuuPdpCDc/S5E-eaB7IRI/AAAAAAAADkE/5JMTMEiVz4A/s1600-h/3561563035_9575a2f43c%5B4%5D.jpg"></a></p> </td> </tr> </tbody></table> <p align="justify">Working people had created a rich subculture for themselves, dense with institutions, clubs, unions, education societies, cooperatives, chapels (Gorman, 1986:16)</p> <p align="justify">From it the trade unions emerged and from it they drew their imagery: from old craft, Freemasonry, friendly society, temperance group, from the chapel and the Sunday school, from the bible and from Bunyan (Gorman, 1986:16)</p> <p align="justify">After 1825 the unions rapidly abandoned the secret society (though not its insignia). They marched the streets with their banners (Gorman, 1986:16)</p> <p align="justify">Already by 1831 the miners were beginning their career as the greatest banner bearers of them all: at Jarrow they paraded, each colliery with its own. (Gorman, 1986:16)</p> <p align="justify">The banners were out in force at political rallies, the Ten Hours Campaign meetings; in 1834 the unions marched against the transportation of the Dorchester men like regiments of guards, strictly marshalled behind thirty-three banners in battle array (Gorman, 1986:16)</p> <p align="justify">The earliest banner John Gorman has been able to find dates from the 1820s; it is in the 1840s that a recognisable tradition begins, that George Tutill who was to become banner-maker-in-chief to the unions sets to work (Gorman, 1986:16)</p> <p align="justify">Over two generations of travail and turmoil, in the teeth of back-breaking and heart-breaking resistance, the working classes, against all odds, had established a <i>presence</i> (Gorman, 1986:16)</p> <p align="justify">As their unions began to harden into some permanence and continuity, as unionism itself stiffened into a ‘tradition’, so their pageantry and symbolism began to firm and steady into a kind of permanence. (Gorman, 1986:16)</p> <p align="justify">Their banners became enterprises of the spirit, large and silken and heavy and expensive; memorials to a certain permanence. (Gorman, 1986:16)</p> <p>And the heraldry first blazoned in this slowly forming tradition was the heraldry of <i>presence</i> (Gorman, 1986:16)</p> <p><b>Presence</b></p> <p align="justify">During the 1840s union banners began to be made in the general style which remained in favour for a hundred years: lavishly illustrated on both sides of silk panels, highly ornamented and trimmed, up to 4.9 by 3.7 metres in size, to be paraded in public, stately and striking (Gorman, 1986:16)</p> <p align="justify">This uniformity, which extended to designs as well as materials, was due largely to one man, George Tutill, who set up in the banner-making business in 1837 and over the next fifty years earned for his business a virtual commercial monopoly and a world-wide market (Gorman, 1986:16)</p> <p align="justify">Tutill made banners for a wide range of societies, but his speciality was union work (Gorman, 1986:17)</p> <p align="justify">The basic forms and modes of banner art were fixed in the pudding time of mid-Victorian prosperity to the satisfaction of the labour aristocrats who then staffed the unions; these forms proved equally congenial to successive generations of new unionists at least up to the First World War; such adjustments as were made responded to the general movement of popular public taste, for example in advertising styles of the 1920s. (Gorman, 1986:17)</p> <p align="justify">Even when taste had altered drastically, union men in the inter-war years seem to have been very reluctant indeed to move out of what had then become a tradition (Gorman, 1986:17)</p> <p align="justify">It is a striking testimony to the aptness and fitness of George Tutill’s designs (Gorman, 1986:17)</p> <p align="justify">While banners by the hundred were produced all over the country it was the Tutill banners which moved into the mainstream of union heraldry. It was they who established the tradition (Gorman, 1986:17)</p> <p align="justify">These themes were central: unity, brotherhood, mutuality, coupled with an assertion of the essentially moral and innocent character of the organisation (Gorman, 1986:18)</p> <p align="justify">They were never servile – ‘We bide our time’ – but the stress was always on conciliation not conflict. (Gorman, 1986:18)</p> <p align="justify">And when they chose to advertise their service as benefit societies (as they did with increasing emphasis) their banners were drenched in the biblical imagery of the Good Samaritan (Gorman, 1986:18)</p> <p align="justify"><b>Cathedral and Commonalty</b></p> <p align="justify">In the 1890s something like a banner mania seized working people and not only in their unions (Gorman, 1986:20)</p> <p align="justify">Banners went everywhere, to meetings, demonstrations, funerals, even picnincs; the country broke into a rash of £50 raffles (Gorman, 1986:20)</p> <p align="justify">In the decade 1890-1900 the British people seem to have wantoned in colour (Gorman, 1986:20)</p> <p align="justify">Under the first impact of the new unionism the world of banners visibly expanded (Gorman, 1986:21)</p> <p align="justify">The banner was essentially an expression of local, of branch pride and in a few years of tumultuous growth there was a profusion of new ideas (Gorman, 1986:21)</p> <p align="justify">‘This is a Holy War’, proclaimed the militant export branch of the dockers, ‘and we shall not cease until all destitution, prostitution and exploitation is swept away’ and on their dramatic banner a hero wrestles a serpent amid solidarity slogans (Gorman, 1986:21)</p> <p align="justify">‘Be sure you are right’, warns a lifebelt circling a ship, ‘then full speed ahead’ [see below] (Gorman, 1986:21)</p> <p align="justify"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S_rZYUEjbhI/AAAAAAAAEdg/yl8sLsG1Rqs/s1600-h/clip_image002%5B5%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: block; float: none; margin-left: auto; border-top: 0px; margin-right: auto; border-right: 0px" title="clip_image002" border="0" hspace="12" alt="clip_image002" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiYlbgiTwxScqg65yijFKMDs3_gyKHKp-xgZ7WCJ4Rj19FH9g-FPUVipjq9nCwmw1uu7IQTgCTgkztwDCQqzGnfGqgRjulYkT-IWQDudqQMp3x8xgg0fJTgafARnf526VUxn5ifZsIsJyO/?imgmax=800" width="304" height="291" /></a></p> <p align="justify">The militancy of the ‘new unionism’ is vividly portrayed by a Herculean worker wrestling with the ‘serpent of capitalism’. The design derives from Walter Crane’s illustration of ‘Hercules and the Old Man of the Sea’, drawn for <i>A Wonder Book</i>, published in 1892. Tutill’s, who made the banner, frequently used Crane’s work as a ready reference for trade union banner designs. The banner would have been painted in the early 1890s and the forceful slogans represent a break with the conciliatory mottoes of the old craft unions. The reference to prostitution on the banner reflects the policy of the union which was formed during the Great Dock Strike of 1889 and aimed to change the wretched social conditions that prevailed in London’s dockland at the end of the last century. A recent discovery of some old glass negatives that escaped the bombing of George Tutill’s in 1940 show that the design was later copied, including the mottoes, for the New Monkton Main branch banner of the Yorkshire Minerworkers’ Association (Gorman, 1986:127)</p> <p align="justify"><a href="http://lh5.ggpht.com/-3TPaFNXaorA/T5F4RM6rskI/AAAAAAAAGmw/9W7lFDKY_pU/s1600-h/1%25255B4%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: block; float: none; margin-left: auto; border-top: 0px; margin-right: auto; border-right: 0px" title="1" border="0" alt="1" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5rEn5YQ90QEP0kXqCmOUjrgr3M2IhCZ3WgwspXKan6hFttSTLkojDPaSp1ZW9ttydGJoN3vaCMepnVqLjpkw6DXhrfB3bABdXwDkrvAQ-PtbCIc6s9gIkCIZrfwbPxCm6IkyAGO5KurNw/?imgmax=800" width="198" height="303" /></a> </p> <p align="center">Crane, Walter (1892) <i>Hercules and the Old Man of the Sea. </i>New York Public Library </p> <p>The banner of the Sheet Glass Flatteners, found in St Helens during the Pilkington troubles of 1970 and apparently unused since 1923, was strictly traditional, the parable of the bundle of sticks on one side and on the other a bevy of suitably symbolic ladies group around a flaccidly sexy Truth gazing into a mirror (Gorman, 1986:21)</p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S_rZaz-RFjI/AAAAAAAAEeQ/vJH-lik1gcY/s1600-h/clip_image006%5B6%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001" border="0" alt="clip_image001" src="http://lh3.ggpht.com/-EgcP83ydHts/T5F4h1DWaoI/AAAAAAAAGnI/e2c3g9QG9Mw/clip_image001%25255B3%25255D.jpg?imgmax=800" width="244" height="237" /></a></td> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S_rZcJzXULI/AAAAAAAAEec/ZA8uJ_WT1B8/s1600-h/clip_image008%5B7%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[4]" border="0" alt="clip_image001[4]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhznUwmb1YQ6npD6lUSZnQDt7gBzLP2E6uob6gelXk8jjVHQl2a_F2wopso8b9SBjAn8JGXNxfB65zPC_CaaPPaQFvrsTQSkKINh69iYULBJlrdcIIVcZ_xd0lqK00K2wq24drXwin5z0Kk/?imgmax=800" width="236" height="244" /></a></td> </tr> </tbody></table> <p align="justify">This fine banner, painted in George Tutill’s studio, was found by strikers when they demonstrated at the offices of their own union, the National Union of General and Municipal Workers, during the Pilkington dispute at St Helens in 1970. The box in which the banner was found was lined with newspapers dated 1923 which may indicate the last time the banner was used. The Sheet Glass Flatteners were in existence in 1891 and the banner would seem to date from the last decade of the nineteenth century. The obverse of the banner illustrates the trade unionists’ popular fable about the power of unity: ‘A small child can break a single stick, but bound together a strong man cannot break them’ (Gorman, 1986:82)</p> <p align="justify">The style of these banners is certainly cleaner and less cluttered; it is more accessible to modern taste, has less of the archaic and antique ‘charm’ of the earlier ones. (Gorman, 1986:21)</p> <p align="justify">The difference is illusory. Banner art was no counterculture (Gorman, 1986:21)</p> <p align="justify">Its duty was to communicate with the generality, it employed the media of the commons (Gorman, 1986:21)</p> <p align="justify">It moved with public art, most notably with the poster and advertisement art of the 1920s (Gorman, 1986:21)</p> <p align="justify">It was only when the living connection with working people was broken from the 1920s that banner art became a petrified subculture, a conscious archaism expressing ‘tradition’ and in due time a collector’s item worthy to rank, were it put practicable, with other fashionable Victoriana (Gorman, 1986:21)</p> <p align="justify">From the 1900s the banners, particularly those of the miners marching in the vanguard of the labour movement, are a portrait gallery of leaders (Gorman, 1986:22)</p> <p><b>Commonwealth</b></p> <p align="justify">It was Walter Crane who shaped the first imagery of socialism among the unions (Gorman, 1986:22)</p> <p align="justify">All these styles of Crane’s or derived from him appeared and reappeared in banner after banner before 1914, especially among the general unions (Gorman, 1986:22)</p> <p align="justify">Sometimes there were effective variations. The Davenport branch of the Workers’ Union had a splendid scene in which a dazzling angel broke the chains of man’s slavery ‘Every bondsman has within <i>himself</i> the power to cancel his captivity’ (Gorman, 1986:22)</p> <p align="justify">When slogans were used they were often spiky and personal, and the first pictorial socialism of the unions was in fact steeped in the modes and manners of a William Morris self-recreation in community. (Gorman, 1986:22)</p> <p align="justify">[…] something of this tradition survived the war. Several banners follow the style, particularly among the general unions, with noble women, sometimes wrapped in streamers, leading sons of toil into commonwealth: ‘The World is my country, mankind my bretheren’. (Gorman, 1986:22)</p> <p align="justify"><b>The Lost Banners</b></p> <p align="justify">At the May Day march in London in 1896 it was claimed that £20,000-worth of trade union banners were carried. (Gorman, 1986:27)</p> <p align="justify">They were brilliant, silken sails of colour, up to 4.90 by 3.70 metres in size, painted with emblems and scenes showing the crafts and skills of the trade unionists who carried them (Gorman, 1986:27)</p> <p align="justify">Some of the banners illustrated the hazards and dangers of the work in certain industries – a builder toppling from high scaffolding, a railway worker crushed between two trucks (Gorman, 1986:27)</p> <p align="justify">Others painted a romantic vision of a better life to be gained by ‘Unity’ and ‘Reason not force’ (Gorman, 1986:27)</p> <p align="justify">The peak period for banner carrying was undoubtedly the last decade of the nineteenth century when the enormous demand for banners from every sort of organisation, from Sunday schools to trade unions, amounted almost to a mania (Gorman, 1986:27)</p> <p align="justify">Engravings, drawings, photographs and contemporary accounts confirm the vast numbers of ornate silk banners that would be paraded on every possible occasion during this time (Gorman, 1986:27)</p> <p align="justify">In 1890 a newspaper reported 400 banners at a temperance society march in London! (Gorman, 1986:27)</p> <p align="justify"><b>The Banners Unfurled</b></p> <p align="justify">Coats of arms or designs which appear to be armorial bearings on trade union banners derive from only two sources: the accredited arms of the craft guilds and the fertile imagination of the banner-painter or emblem-designer making free use of the heraldic art (Gorman, 1986:31)</p> <p align="justify">In their efforts to acquire a ready-made history and strengthen their position in the eyes of the community, the bricklayers were not alone in looking backwards to the biblical forebears of their crafts, as if to imply a direct decendancy, an unbroken link from earliest times (Gorman, 1986:33)</p> <p align="justify">While the bricklayers quoted Genesis, the shipwrights looked to Noah and the tinsmiths to Tubal Cain as the first worker in metals (Gorman, 1986:33)</p> <p align="justify">The tailors […] claimed the making of the first suit of clothes for Adam and Eve, leaving the printers to appear as newcomers, tracing their origins to Gutenberg, Caxton and Alois Senefelder (Gorman, 1986:33)</p> <p align="justify">It was left to the Carpenters to make the most audacious claim of all, depicting Joseph of Nazareth and declaring him ‘the most distinguished member of our craft on record’ (Gorman, 1986:33)</p> <p align="justify">Whilst biblical antecendents and spurious coats of arms were contrived to bring immediate respectability, there is one instance of a savage parody of armorial bearings inscribed on a banner of 1833, during the agitation for the Ten Hours Bill (Gorman, 1986:33)</p> <p align="justify">The trade unions without craft traditions looked to friendly societies, Masonic lodges and churches for the inspiration for the designs and mottoes for their banners (Gorman, 1986:33)</p> <p align="justify">They and the craft unions also copied the rituals and regalia of such organisations, including oaths, initiation ceremonies, the regalia of office and structure of organisations (Gorman, 1986:33)</p> <p align="justify">The earliest detailed account of the making of a trade union banner, that of the United Society of Weavers, describes the symbols that made up the total illustration, which included the ‘all-seeing eye of the Omnipotent King of Kings, looking down and diffusing the rays of glory on all beneath that never fail to light the path of the earnest worker and fearless spirit who believes in His love and almighty power’ (Gorman, 1986:33-34)</p> <p align="justify">This ancient symbol, so widely used by Masons and friendly societies, is featured in hundreds of trade union banners up to the period of the First World War. (Gorman, 1986:34)</p> <p align="justify">In 1834, in connection with their joining the Grand National Consolidated Trades Union, we have an account of the Nantwich shoemakers having a trade banner made, ‘emblematical of the trade’ painted by a ‘Herald painter, Thomas W Jones of Hospital Street […](Gorman, 1986:34-35)</p> <p align="justify">It carried an illustration of St Crispin and the motto ‘May the manufactures of the sons of St Crispin be rod upon by all the world’ (Gorman, 1986:35)</p> <p align="justify">Both the slogan and the patron saint were featured on banners of the National Union of Boot and Shoe Operatives well into the twentieth century, a fine example being that of the Nos 1 and 2 branches, Northampton, made in the late 1920s and in regular use until 1962 (Gorman, 1986:35)</p> <p align="justify">From the 1840s, the form and appearance of the banners was to remain basically the same, although the illustrations and slogans would alter of the years to meet the changes in society and trade unionism (Gorman, 1986:35)</p> <p align="justify">Trade unionists turned quite naturally to the tools of the trade, place of work and thhe products of their labours as symbols of identity (Gorman, 1986:36)</p> <p align="justify">Such banners had not only the advantage of ready recognition, but association of the union with its craft (Gorman, 1986:36)</p> <p align="justify">They were also an honest reflection of the pride of the workers for their craft skills and their genuine concern for the quality and prosperity of the trade (Gorman, 1986:36)</p> <p align="justify"><b>The Hope of Labour</b></p> <p align="justify">The banner was described as ‘a splendid addition to the colours of trade unionism’ (Gorman, 1986:40)</p> <p align="justify">In their efforts to portray their trades, their purpose, their hopes and fears, the branches developed banner illustrations into an elaborate and telling popular art (Gorman, 1986:40)</p> <p align="justify">One of the favourite forms of illustration during the 1890s was the picture parable, which showed with Sunday school simplicity the bad and good effects of two different course of action (Gorman, 1986:40)</p> <p>The concept was not new and was widely used in Victorian times by every sort of ‘do good’ organisation (Gorman, 1986:40)</p> <p>The employers used pictures to show that bad timekeeping led to the sack, while punctuality brought prosperity (Gorman, 1986:40)</p> <p><b>The Banner Makers</b></p> <p>As on the banner of the Witney branch of the Workers’ Union, David slaying Goliath might carry a militant trade union caption (Gorman, 1986:51)</p> <p align="justify">All the popular emblems of truth, hope, justice, the ‘all seeing eye’ and every kind of medieval symbol Tutill could find were cleverly woven into composite designs and spurious coats of arms ready for any society requiring instant dignity and status (Gorman, 1986:51-52)</p> <p align="justify">Another ready source of imagery for the Tutill business was the cartoons of Walter Crane (1845-1915). (Gorman, 1986:52)</p> <p align="justify">Already famous as an illustrator and pre-Raphaelite artist when he was converted to socialism in 1884, Crane gave freely of his talents to the cause of labour to become the most influential of British artists in shaping the popular iconography of trade unionism (Gorman, 1986:52)</p> <p align="justify">However, it was his cartoons, drawings made for socialist journals, <i>Justice, Clarion, Commonweal</i> and <i>Labour Leader</i> that were to become a standard reference for Tutill banners for forty years or more (Gorman, 1986:52)</p> <p align="justify">Many more were inspired by his ‘<i>Angel of Freedom’</i>, derived from his original oil painting, <i>Freedom</i>, exhibited at the Grosvenor Gallery in 1885 (Gorman, 1986:52)</p> <p align="justify"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S_rZduw9AAI/AAAAAAAAEeA/jlgO_Q7j0Ro/s1600-h/clip_image010%5B5%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: block; float: none; margin-left: auto; border-top: 0px; margin-right: auto; border-right: 0px" title="clip_image002[6]" border="0" hspace="12" alt="clip_image002[6]" src="http://lh3.ggpht.com/-0_bFGBV5NBo/T5F4t9y2TaI/AAAAAAAAGnY/mN4nKURIxqI/clip_image002%25255B6%25255D%25255B4%25255D.jpg?imgmax=800" width="215" height="320" /></a></p> <p align="center">Crane, Walter (1885) <i>Freedom. </i>Art Magick: Walter Crane (2010): <a href="http://www.artmagick.com/pictures/artist.aspx?artist=walter-crane">http://www.artmagick.com/pictures/artist.aspx?artist=walter-crane</a></p> <p align="justify">Described by Crane as a ‘vision breaking into the sunshine of spring’, the winged female figure was freely interpreted on the banners as a vision leading to the sunshine of socialism (Gorman, 1986:52)</p> <p><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S_rZe4mz-MI/AAAAAAAAEeI/O-cvm1wt3tM/s1600-h/clip_image012%5B5%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: block; float: none; margin-left: auto; border-top: 0px; margin-right: auto; border-right: 0px" title="clip_image002[8]" border="0" hspace="12" alt="clip_image002[8]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTWJg4vSDN9z0ySslcuWys7dfF2qim1HAWBb9HU1yQvFdx8AilEO3-hobId6AL0FwIUII7LbCJhNVwd_Ury4okLkB4jf_3vZDxsk9JjCf3YV-lu6lo1mIFcKiVeymbzLtyaBKzychElOc3/?imgmax=800" width="273" height="256" /></a></p> <p align="justify">The Chatham district banner of the Amalgamated Society of Woodworkers is based on an earlier design for a certificate of membership for the Amalgamated Society of Carpenters and Joiners. In 1866 the executive committee commissioned a well-known artist of the time A J Waudby, to design both an emblem and a certificate. Fortunately the artist’s explanation of the original drawing is recorded. On one side of the banner (it is difficult to differentiate front and back when both are such fine paintings) is depicted Joseph of Nazareth, ‘the most distinguished member of the craft on record, being the reputed father of our Saviour’. Justice bearing the sword and the balance and Truth holding amirror are placed either side of him. The motto is ‘<i>Credo sed caveo’</i> – ‘I believe but I beware’. The obverse shows an illustration representing ‘the centering of an arch adapted from a plate in Nicholson’s practical carpentry flanked with a carpenter and joiner’. Both figures are based on a portrait of James Blayne, chairman of the executive committee in 1862 and branch secretary of the Camden Town branch in 1866. Blayne stated in 1896, when applying for superannuation, that the saw shown in the hand of the carpenter on the left of the design was still in his possession. The banner, according to an old member of the union, G A Matthews, was made about 1899; a 5s levy was imposed on all members in the area to meet the cost. Mr Matthews recalls the banner being carried during local disputes and strikes before the First World War. Some time after 1927 the banner was returned to Tutill’s for reconditioning and alteration to the name and title. It was last carried through the streets of the Medway town on May Day, 1962. The banner is now part of the National Museum of Labour History collection. [now the People’s History Museum, Manchester]</p> <p><b>Sources</b></p> <p><b></b></p> <ul> <li>Gorman, John (1986) <i>Banner Bright: An Illustrated History of Trade Union Banners</i>, Essex: Scorpion Publishing Ltd </li> </ul> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-26129103849500467122010-03-05T17:15:00.001+00:002012-04-20T16:02:25.213+01:00Weegee<p>As did Weegee, although he focused on the ‘colourful’ side of life:</p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S5E8FT_xIRI/AAAAAAAADig/dv-wgHOSHR0/s1600-h/046_002_pbw%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001" border="0" alt="clip_image001" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgriAWoV65Bm863XYtGv3tHMc06Rc4KSNjyfuTc2qhfAXErqOvlZGQRqrOHkgiX7aPhMdl5S5VvZwfL3jHIMo9mLpsrHTcORV5Bydq4x8CDog87vRsdfho0IFNAjnHVuqjoPcpt5SFEMHoB/?imgmax=800" width="186" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S5E8GX0UDiI/AAAAAAAADio/idWlOMdT1MU/s1600-h/wg4-24%5B7%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[5]" border="0" alt="clip_image001[5]" src="http://lh5.ggpht.com/-xXcpHC-euGw/T5F6cHmfTKI/AAAAAAAAGnw/3eNzTssDblE/clip_image001%25255B5%25255D%25255B3%25255D.jpg?imgmax=800" width="178" height="240" /></a></td> </tr> <tr> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S5E8HmVSNEI/AAAAAAAADiw/YaBOOkcbrFQ/s1600-h/weegee-sammys%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[7]" border="0" alt="clip_image001[7]" src="http://lh4.ggpht.com/-ikCbSOWVV1E/T5F6dIQuKTI/AAAAAAAAGn4/fq5q8Fw4G4Y/clip_image001%25255B7%25255D%25255B3%25255D.jpg?imgmax=800" width="181" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S5E8JTp7AKI/AAAAAAAADi4/1KLnt6P8W3o/s1600-h/weegee_2015_1993%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[9]" border="0" alt="clip_image001[9]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj294XpH58XGxSzED_PUhNMIjzg7vfEGUYPwMtgtfNR7Cp0Ej-rVbfLUUQNfn3dPWNNl0Hm8gE78mOqhMWYpUc28VPkBK5V49Fa-ex99MGVx6SBJfqjJafPcjR1mddriGnveWTXM-HBrERe/?imgmax=800" width="187" height="240" /></a></td> </tr> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S5E8KWKwHmI/AAAAAAAADjA/XvBBfvrnn3Q/s1600-h/weegee3%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[11]" border="0" alt="clip_image001[11]" src="http://lh6.ggpht.com/-1kcuFTm5br0/T5F6e0NNQbI/AAAAAAAAGoI/JNtChbfekcE/clip_image001%25255B11%25255D%25255B3%25255D.jpg?imgmax=800" width="240" height="181" /></a></td> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S5E8LqgZD_I/AAAAAAAADjI/iHcjxWFiJyQ/s1600-h/weegee_2%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[13]" border="0" alt="clip_image001[13]" src="http://lh4.ggpht.com/-OwfQnfAxZYo/T5F6fjW8LDI/AAAAAAAAGoQ/QNkv-tlzy5k/clip_image001%25255B13%25255D%25255B3%25255D.jpg?imgmax=800" width="240" height="226" /></a></td> </tr> </tbody></table> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-48127442922251392502010-03-05T17:10:00.001+00:002012-04-20T16:45:43.439+01:00Bill Brandt<p>Bill Brandt also photographed a series of atmospheric night pictures.</p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="200"><img src="http://www.joseflebovicgallery.com/Catalogue/Archive/Cat-126-2007/Large/0022.jpg" width="263" height="334" /></td> <td valign="top" width="200"><img src="http://www.americansuburbx.com/wp-content/uploads/2011/08/Street-scene-Peckham-19361-350x350.jpg" width="243" height="243" /></td> </tr> <tr> <td valign="top" width="200"><img src="http://www.vam.ac.uk/images/image/39786-large.jpg" width="266" height="319" /></td> <td valign="top" width="200"><img style="border-right-width: 0px; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvJaio2GF0H2ULx7b3h_6u0PFwQUxOizYwyoBkT6YRaBWcaqtB2TE2JJ5pETr-423pAJqXVZy2PEGojgTIwlmB5frvt8-RWLeGh4qC1g0xXcQNajZJULE1QFIYky3ZtjvFNA0BXuhP1Xg/s400/CD+Policeman+in+a+Dockland+Alley+Bermondsey+Bill+Brandt+1938.jpg" width="274" height="314" /></td> </tr> </tbody></table> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-86667723578835117272010-03-05T17:04:00.001+00:002012-04-20T16:44:57.752+01:00Brassai<p align="justify">Brassai photographed the world at  night.  I may photograph some night scenes to go with my collection of workers’ photographs, but I’m not sure yet.  They will have to go with the main theme of the book.</p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="133"><img src="http://www.phattire.net/blog/2008/brassai.jpg" width="199" height="256" /></td> <td valign="top" width="133"><img src="http://dawnschuck.files.wordpress.com/2011/06/brassai_gutter.jpg?w=423&h=560" width="197" height="257" /></td> <td valign="top" width="133"><img src="http://1.bp.blogspot.com/_2w6AeiLLsyY/S5dJOpqxOdI/AAAAAAAA52g/7yohWdGrWv0/s1600/brassai54beautifullepontneuf-11-485x580-782872.jpg" width="205" height="243" /></td> </tr> </tbody></table> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="200"><img src="http://cdn2.all-art.org/yapan/History%20of%20Photography/10_files/8.jpg" width="321" height="252" /></td> <td valign="top" width="200"><img src="http://3.bp.blogspot.com/_MmRVVROy-Jo/TENbScqAAqI/AAAAAAAAOKo/LiQAQlPi5h4/s1600/brassa%C3%AF3.jpg" width="208" height="265" /></td> </tr> <tr> <td valign="top" width="200"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQdNGcyhfZu0U6YcJXtLQ4_0C0weqojZ6sTf1NQY9N2PqV7TxzV1hq5L_WezfpPklbgPKh2TeHyfpo2-7opOD2TZQ0jOJPtgtBK-EhKD5hhnQtbapYuD0EP_nolkj5lxr454st3L5ag2Y/s1600/brassai-4.jpg" width="393" height="295" /></td> <td valign="top" width="200"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXS3dL0XDs9ldoGHPt2yqZ3tfQY3s07SC5xUDxQD3V_0LQzoz_FbzhKggFLmHqIP_awI2W3dRHO0aup74aPwnA0sKxyumjWDah2tNTxIYwutztoih7Th0-pNXc6iPrzDM9CH6qcPoG0Kqs/s1600/brassai_prostitute.jpg" width="268" height="351" /></td> </tr> </tbody></table> <p align="justify">Brassai also photographed people who worked at night:</p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="133"><img src="http://web.ncf.ca/ek867/brassai.police.station.jpg" width="180" height="233" /></td> <td valign="top" width="133"><img src="http://www.americansuburbx.com/wp-content/uploads/2011/02/brassai.jpg" width="176" height="225" /></td> <td valign="top" width="133"><img src="http://www.mheu.org/portal/ressources/imageBank/2/369,rue25.jpg" width="192" height="233" /></td> </tr> </tbody></table> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-37480342932382150182010-02-23T17:07:00.001+00:002012-04-20T17:12:23.858+01:00Ian Beesley<p align="justify">My tutor, Ian Beesley, has photographed workers many times.  the following photographs are taken from ‘On the Clock’, ‘Esholt’, ‘Thro’ the Mill’ and ‘Meltdown’, where the composition is similar to that of my own images:</p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSr6EelWi9EEhtaN8-HkuiSQeCX3mvGCp8IHCIvWhDy6imY2cxZtPMnJ5HJORvKD_8kb1fAQQO8dD-YBYGkPox0A7ShlAMizh39bBzjLXvt29lhVAtA5enDmwuZZH6ukdJOtqARxbKMcY/s1600-h/ontheclock010%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="ontheclock010" border="0" alt="ontheclock010" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxvy2nd3Q-SSCxjieSPu4dtonQcNaHxqokzLVKBtoGsgA-ZQNlzlaZToKgX0tbpGkFVZgMyqE1XThEebWEU1ilGKqvvRde9SsB_4MextfYd4hRCxcXHK2Z2hq9NK1scS5vYydrU1EmQd0A/?imgmax=800" width="240" height="161" /></a> </td> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQuJ1U2rEVkJTWfq-IuH-pbwwQ2-YbKxMbGeYteTWEZgzTqIMIGrFKChgOMjetwCRf4Mn_269lM23xMPa6FvBmrNf23eL6Cc0HsavJj6rbdAnXE0DbwL5P0psH69id9cXM3M2t6gSWKO8/s1600-h/ontheclock011%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="ontheclock011" border="0" alt="ontheclock011" src="http://lh6.ggpht.com/-nu0QjQ21yd4/T5GKrMR4NQI/AAAAAAAAGrY/uyzbT0goQNI/ontheclock011_thumb%25255B1%25255D.jpg?imgmax=800" width="240" height="161" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="http://lh4.ggpht.com/-kQfQKD-ZwKQ/T5GKr4MDt1I/AAAAAAAAGrg/-wlMl5vKz7g/s1600-h/ontheclock004%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="ontheclock004" border="0" alt="ontheclock004" src="http://lh3.ggpht.com/-JO8bGvx1tfg/T5GKs_JmWbI/AAAAAAAAGro/hyyjEeAVckQ/ontheclock004_thumb%25255B1%25255D.jpg?imgmax=800" width="240" height="178" /></a> </td> <td valign="top" width="200"><a href="http://lh4.ggpht.com/-XnEs2bulXSQ/T5GKt6-3ECI/AAAAAAAAGrw/SScQ8bWe3c0/s1600-h/ontheclock002%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="ontheclock002" border="0" alt="ontheclock002" src="http://lh5.ggpht.com/-mcqq8ZpeQ90/T5GKuvhlQ8I/AAAAAAAAGr4/bS0d1F_OZ8s/ontheclock002_thumb%25255B1%25255D.jpg?imgmax=800" width="240" height="178" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9dPEyMmAGNo-4exFxJKaTNRGOWuNuiIdjyX2ciAjq4yawrwsxht2zaYqrUOw8XjthyvCC7mTuQPQm72jWcJo7cXiwXQlbY6f7h9U8C0kv0WCAFAoEET-57V_-P5CZ1OUbpSEugUHwI7kJ/s1600-h/ontheclock006%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="ontheclock006" border="0" alt="ontheclock006" src="http://lh3.ggpht.com/-muv7GtidSik/T5GKweSQZ4I/AAAAAAAAGsI/aTeVnfYmBJ4/ontheclock006_thumb%25255B1%25255D.jpg?imgmax=800" width="240" height="178" /></a> </td> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVFAYGVMxHPTTY95l0guvgY-_jc0XCMQ6BSfE6WItQYafynNAMboj7Z7K8OsLsAOpto-hCMq_R4OaqRUI94ULe06az8v-VXcV2EEzpxvO7SvAEiRBWIpsXZR1Z7dDF7xoLas_ciyBebUA/s1600-h/steam9%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="steam9" border="0" alt="steam9" src="http://lh5.ggpht.com/-Mcze8mv6GG4/T5GK0Po7dFI/AAAAAAAAGsY/oAKTHKVihGE/steam9_thumb%25255B1%25255D.jpg?imgmax=800" width="240" height="182" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnnyY4JFfaLAncyaskP8Jkpen4mIJ3umRF9fNavbq4yjOsjWlKirf2Wonu8yrZUQDJZn_4NqX8OeURv9uNNQCKfxrChE3eKPOBschU5AknQ4jYgZOiHF7xILCH-hjXZ3gf8H0D-O8bmW4g/s1600-h/steam10%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="steam10" border="0" alt="steam10" src="http://lh5.ggpht.com/-7uVNnKlMz80/T5GK19IIkmI/AAAAAAAAGsk/xLUFfTjxOS0/steam10_thumb%25255B1%25255D.jpg?imgmax=800" width="240" height="183" /></a> </td> <td valign="top" width="200"><a href="http://lh3.ggpht.com/-8PYk37kByrU/T5GK2ilf9_I/AAAAAAAAGsw/OPvegmGDY8Q/s1600-h/meltdown1%25255B6%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="meltdown1" border="0" alt="meltdown1" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxHrBLVrgQCQyZEKaDrIJj8r4lfsCHgZVhWi2miNCvKKp2UoGjnDklK-rS3LbcbHXY6Ujo5upjBkBsI3VkrSE4pBfxd8PgrakWAqbOFs1ThsFe3dVtK0rFHkc1Gab7P63Y8T7w2rsYJ5C/?imgmax=800" width="240" height="158" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr7qO1QfbOST35NHhIEseX6tqIUsa6Fj81LxnCBmBUE40Yi-gE5uZY0YFxB16X__yOOEeRgOJzvTJr_eL9YDiV0QTkCVvcJAhfC9WvIOBrFhx4plkgQ5Sxp_KlJyQWWJsg1pqi6B38DZdD/s1600-h/mills8%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="mills8" border="0" alt="mills8" src="http://lh6.ggpht.com/-XKGPZuUW_xA/T5GK5TWv_1I/AAAAAAAAGtE/IJ4zb3MMyD0/mills8_thumb%25255B1%25255D.jpg?imgmax=800" width="185" height="240" /></a> </td> <td valign="top" width="200"> </td> </tr> </tbody></table> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-44337117074769071682010-02-02T16:30:00.001+00:002012-04-20T16:47:47.509+01:00Andy Boag – 25 Years On<p align="justify">Last year’s MA student at the University of Bolton, Andy Boag, photographed ex-miners at the location where their colliers once stood – 25 years after the pit closures.  The style of the photographs is the same as mine – maybe I’ll be photographing my workers 25 years from now.</p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S2hS5zc2KII/AAAAAAAACsw/H53wz2TBvRE/s1600-h/2_BOB_WHITE_SAVILEtrim%5B3%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001" border="0" alt="clip_image001" src="http://lh5.ggpht.com/-pbqDZ6HPoHQ/T5GFDRwGWoI/AAAAAAAAGqQ/qabY_86HKeA/clip_image001%25255B16%25255D.jpg?imgmax=800" width="238" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S2hS7RgkDHI/AAAAAAAACs4/1gL-8FlGNzI/s1600-h/5_SID_BAILEY_CORTONWOODtrim%5B3%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[4]" border="0" alt="clip_image001[4]" src="http://lh3.ggpht.com/-l41gI9I3nxo/T5GFEu4zqRI/AAAAAAAAGqY/6S9u3N4sxMY/clip_image001%25255B4%25255D%25255B3%25255D.jpg?imgmax=800" width="240" height="239" /></a></td> </tr> <tr> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S2hS-Ohps0I/AAAAAAAACtA/rlMhhieqxkM/s1600-h/8_JOHN_GEARY_EMLEY_MOORtrim%5B3%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[6]" border="0" alt="clip_image001[6]" src="http://lh4.ggpht.com/-NZVYmvxEp-c/T5GFFzQ7CPI/AAAAAAAAGqg/xpv_FaqgnMI/clip_image001%25255B6%25255D%25255B3%25255D.jpg?imgmax=800" width="239" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S2hS_tbkZKI/AAAAAAAACtI/G33Q2EGoGU0/s1600-h/14_ANDY_KOLUNDIC_CADEBYtrim%5B3%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[8]" border="0" alt="clip_image001[8]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBOdXqQAhDdmf-C165jtACXZXDCxiSHMM22iqgGqs2nSSlUXR4Y0GqlfByn8nxRImJFVQJKJ_7unze4UHOdmOCVIuhOpOQ5IVXeejq3spzMs81dyI0wrSMKouMSH4AeLradrMDSCfYD7E-/?imgmax=800" width="239" height="240" /></a></td> </tr> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S2hTB6qHNEI/AAAAAAAACtQ/K8Id1M3-tSs/s1600-h/17_DON_MAGRIERSON_WOOLLEYtrim%5B3%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[12]" border="0" alt="clip_image001[12]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD1X4WCUK4nGz5uIgXF-C_cNwk2cTufx_vT6PG5FzkQ1zEEXdWa_quqQzm9m_5lQKO1bGOSEzyEgKBn8W7ugAfpY2BE59ptvDoDhQ9bK_PIw0iK0gzvVMokvj7DtrE-cozIcj9WaOWsIFy/?imgmax=800" width="240" height="239" /></a></td> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S2hTDrckzKI/AAAAAAAACtg/FsWS2Q7k9CM/s1600-h/28_KEN_WILKINSON_ASKERNtrim%5B5%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[14]" border="0" alt="clip_image001[14]" src="http://lh4.ggpht.com/-Oiyv6PRP_1A/T5GFIfVlShI/AAAAAAAAGq0/3qka2TwpBNQ/clip_image001%25255B14%25255D%25255B3%25255D.jpg?imgmax=800" width="240" height="239" /></a></td> </tr> </tbody></table> <p></p> <p></p> <p></p> <p></p> <p></p> <p>I’m also going to be looking at Andy’s book design in the BOOK section of this blog.</p> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-68077282352588868652010-02-02T12:20:00.002+00:002012-04-20T16:58:57.414+01:00Irving Penn - Small Trades<div align="justify">I discovered the work of Irving Penn, who photographed tradespeople dressed in work clothes, photographed in a studio, carrying the tools of their trade, in Paris, London and New York.  The workers are presented with dignity and pride, which is what I am doing.  I am photographing the nightworkers in their working environment which makes them more natural and also, I want viewers of the photographs to see working environments, not just the people themselves.</div> <table style="width: 400px" border="0" cellspacing="0" cellpadding="2"><tbody> <tr> <td valign="top" width="200"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiivl3AxWbcjXMlIxTV9B3kC_J-e9_2d7eq8s7r_HeCkqrxWbuyyc4lIupaXEhfAa45sJWzmYoa-u6vWsqc_hrIq5xHnsc8o5NT9woajzsgQEEaBbo6aqGrs8ogbk-S5WgBLW5F-r3bBEMx/s1600/Scan_Pic0007.jpg" width="258" height="347" /></td> <td valign="top" width="200"><img src="http://4.bp.blogspot.com/_MmRVVROy-Jo/TAJpVZ_SajI/AAAAAAAANJ4/iQ-LgeKy6D4/s1600/irving+penn2896.jpg" width="258" height="340" /></td> </tr> <tr> <td valign="top" width="200"><img src="http://www.artmarketmonitor.com/wp-content/uploads/2009/09/49209619.jpg" width="258" height="320" /></td> <td valign="top" width="200"><img src="http://www.getty.edu/art/exhibitions/penn/images/31057601.jpg" width="258" height="313" /></td> </tr> <tr> <td valign="top" width="200"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg74tudez06O9_CyH0y0J23S7AqLf60L1oE0knCRSgOpuGn1bNlApzQXGsS6fY-WMvk08LpXF4jDQYYdw0N5YZ793M5P-aLYLbd0ab_ZJE0ZUjvMTr_EKZ255EOHod4tIXh9sPjLnqxPYeH/s1600/London+Chimney+Sweep+-+Irving+Penn.jpg" width="258" height="359" /></td> <td valign="top" width="200"><img src="http://a3.ec-images.myspacecdn.com/images02/131/63362311a6224ddb88cbd28df6a86bd8/l.jpg" width="258" height="391" /></td> </tr> <tr> <td valign="top" width="200"><img src="http://s3.amazonaws.com/com.artwelove.asset/12d170204fe1f3cd9a12e25027ee5e2b-l.jpg" width="258" height="280" /></td> <td valign="top" width="200"><img src="http://www.timesquotidian.com/wp-content/gallery/s/ladyacrobat_507.jpg" width="258" height="324" /></td> </tr> </tbody></table> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-40028155186678969272010-02-01T17:05:00.002+00:002012-04-20T17:04:01.974+01:00William EgglestonI like the composition of these William Eggleston’s images.  The subject matter too – ordinary people looking extraordinary. <br /><img src="http://3.bp.blogspot.com/_n2as2HLRPVs/TNR1Japk5fI/AAAAAAAABO8/IyC_eUPr1A8/s1600/eggleston_woman_on_swing.jpg" width="400" height="265" /><img src="http://img.ffffound.com/static-data/assets/6/522df8fe5f5b23f2664dc9ef049a28c1a3d787d8_m.jpg" width="400" height="404" /> <img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJaDm3gO7og4H3ymxpCOYA-6BpwuZuj18i846LUiXftIr-tQWkU0xp9-IgVPJkIJvebhAaK1UjYpCkKg2HbF_ZHYycvwENNVZxu72CYKWe68h2hf5zUX1EG5_cxZHzmSZvirRaLX5Fvw/s400/guide_n.jpg" width="400" height="270" />   <img src="http://artblart.files.wordpress.com/2010/05/william-eggleston-morton-mississippi-c-1969-70-man-with-gun.jpg" width="400" height="591" /> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-77162784712827251752010-01-31T21:38:00.002+00:002010-01-31T21:38:54.563+00:00USING THE WIRELESS FLASH INDOORS AND OUTI have found that the wireless flash system I'm using works better indoors than out. This video explains:<br />
<br />
<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/7LWd2AoLBH0&hl=en_GB&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/7LWd2AoLBH0&hl=en_GB&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-34291562758149624772010-01-31T21:12:00.004+00:002010-01-31T21:25:23.320+00:00CROSS LIGHTING TECHNIQUEThis is the lighting technique I am using:<br />
<br />
<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/BQXpb9Wfo_w&hl=en_GB&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/BQXpb9Wfo_w&hl=en_GB&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
<br />
<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/dOa05ePzXJA&hl=en_GB&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/dOa05ePzXJA&hl=en_GB&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-27769049022273298722010-01-31T20:45:00.000+00:002012-04-20T17:15:37.562+01:00ERIC O'CONNELL<p align="justify">Happened upon Eric O'Connell  today quite by accident and noticed that he has some interesting images on his website that are good references to my work.</p> <p align="justify">Some images capturing atmosphere, use of light and night shots.</p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="200"><img src="http://www.ericoconnell.com/galleries/DD_2_Edit/source/image/anthony5697.jpg" width="300" height="201" /></td> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S2XtO3YKpuI/AAAAAAAAClk/M9rsorqHy5o/s1600-h/eric02%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001" border="0" alt="clip_image001" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj7nTEugsttarEIQIrCwqgKg2HR0oAhOFvgi3p4m8GGM1H5DBBq9xre5c6AoB4Skzx5FVD4CW4qmEmdFJupth9ugW6dErUlMZG-f0H5fTT4Ocob4x7RpqWKQALJqa6bfdBCvNJWUPOGv89/?imgmax=800" width="288" height="194" /></a></td> </tr> </tbody></table> <p>Others employ similar compositional style as my own.</p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S2XtP09Ss-I/AAAAAAAACls/-OLwvARczXQ/s1600-h/eric05%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image002" border="0" alt="clip_image002" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMKCtAB22WFTScn6HPMz5Pasl-UF2QslRsTAU9R5d-BXTGN9inpypv66qj9cr-9fC9BHKBOHYSuUeempGWyZMGbdKq8ETeZ-U1u0ssI7lV2ZnlIew0r9zwDcGPBxFS5l5mMVqBQQ3QUhzL/?imgmax=800" width="204" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S2XtRAPUr1I/AAAAAAAACl0/fh2AJh64FuM/s1600-h/eric04%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image002[5]" border="0" alt="clip_image002[5]" src="http://lh5.ggpht.com/-J3ULwR11Hy4/T5GLnZcyZmI/AAAAAAAAGtg/We2m0Ng0DIQ/clip_image002%25255B5%25255D%25255B3%25255D.jpg?imgmax=800" width="204" height="240" /></a></td> </tr> <tr> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S2XtSJ4ixcI/AAAAAAAACl8/vbXtzOtpb8U/s1600-h/eric03%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image002[7]" border="0" alt="clip_image002[7]" src="http://lh5.ggpht.com/-cu-f1bR_Ov8/T5GLobieZRI/AAAAAAAAGto/Q4eBIWroSk8/clip_image002%25255B7%25255D%25255B3%25255D.jpg?imgmax=800" width="204" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S2XtTJvyZHI/AAAAAAAACmE/D-MGonISy8g/s1600-h/eric07%5B7%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image002[9]" border="0" alt="clip_image002[9]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoWHF4MleGAif9MCWQ7qPHj_nttLbWK5lGiExV9EuPrU92An50nnX27M9rWav2d1P_-5p4tm27AZcz_H7h32LG3XdNI57UtaTVNi18HIE44Z8TAx1k81kdYm_5hZ66l2OknJDiiMKmJ165/?imgmax=800" width="182" height="240" /></a></td> </tr> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S2XtUUA4FlI/AAAAAAAACmM/hT0i3Lpeems/s1600-h/eric06%5B8%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image002[11]" border="0" alt="clip_image002[11]" src="http://lh4.ggpht.com/-hWaKAc2yrhg/T5GLp-P_DbI/AAAAAAAAGt4/ikqmVuCBk8Q/clip_image002%25255B11%25255D%25255B3%25255D.jpg?imgmax=800" width="193" height="240" /></a></td> <td valign="top" width="200"> </td> </tr> </tbody></table> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-52090858878049045542010-01-31T20:13:00.001+00:002012-04-20T17:19:08.551+01:00JASON HYNES<p align="justify">I found Jason Hynes’ images on the BJP website.  However, I cannot find anything written about them, so I may contact him about them.</p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S2Xkb5p3aEI/AAAAAAAACk8/29KQp3jQT4U/s1600-h/16946_derek_priestman%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001" border="0" alt="clip_image001" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPxTyYqZvsgdx9jsqSg3VHTUtD0h_4lLBnCw0owKWgDZwqLO11sBFv2BG0qyQIXVNbMat7kFpVrAIT6NHCDU0_8VAUsGqur7nywSM4ccCl_nfHqbHQDft4fe33MPP7MnTihX_skTp2ZTHe/?imgmax=800" width="240" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S2XkdFju4FI/AAAAAAAAClE/t2HuceP-vaw/s1600-h/16947_ken_sedman%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[4]" border="0" alt="clip_image001[4]" src="http://lh3.ggpht.com/-6cHI2Gsq1cQ/T5GMcmOzDSI/AAAAAAAAGuE/oBC7JGNNqNc/clip_image001%25255B4%25255D%25255B3%25255D.jpg?imgmax=800" width="240" height="240" /></a></td> </tr> <tr> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S2XkeGxzYaI/AAAAAAAAClM/_p6np_vsFYw/s1600-h/16948_kirsten_obrien%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[6]" border="0" alt="clip_image001[6]" src="http://lh4.ggpht.com/-yUwhyokGsaI/T5GMdSF1ycI/AAAAAAAAGuQ/62noaloX-lI/clip_image001%25255B6%25255D%25255B3%25255D.jpg?imgmax=800" width="240" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S2XkfbkivCI/AAAAAAAAClU/LsPxYIEWVcU/s1600-h/16949_sean_price%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[8]" border="0" alt="clip_image001[8]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfOKxIMAUcoAbVv8XLglwwDNfgTWcbY5MPJF06b8NZVHLpsk_WRjnrB0xziYheB_Ap9ANZ07amH7WZnVqCv7BZP1vx__TnxmZKkWiRPoFb-mmxhxAyAx9Z5lptYBTHsdC7KidbAf1Rfe2H/?imgmax=800" width="240" height="240" /></a></td> </tr> </tbody></table> <p align="justify">The image style is similar to what I am doing and I’m presuming these images form a project about workers.    </p> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-1396431118561071622010-01-31T19:34:00.003+00:002012-04-20T17:22:23.850+01:00TREVOR APPLESON – FREE GROUND<div align="justify">Like Glenn Busch, below, these images both contain the style and content of my pictures.  The following is taken from the book ‘Free Ground’:</div> <div align="justify">‘Free Ground’ is an English translation of Afrikaans ‘Vryground’ which is the name of one of the most memorable locations for Appleson’s portable studio portraits. Vryground was supposedly gifted to local fishermen and their families in the 1930s, but under apartheid, the area was declared public land and the inhabitants no longer had any legal right to live there. </div> <table style="width: 400px" border="0" cellspacing="0" cellpadding="2"><tbody> <tr> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S2XbJT364uI/AAAAAAAACgg/yqqlAvq90AE/s1600-h/pic01small%5B6%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001" border="0" alt="clip_image001" src="http://lh6.ggpht.com/-W4rMnOcwvvg/T5GNF0M9BFI/AAAAAAAAGug/YyslTo_Tbfw/clip_image001%25255B4%25255D.jpg?imgmax=800" width="189" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S2XbKebY-uI/AAAAAAAACgs/etlKtWB5Yjw/s1600-h/pic02small%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[5]" border="0" alt="clip_image001[5]" src="http://lh4.ggpht.com/-RVh9G_uQh0k/T5GNGstk7WI/AAAAAAAAGuo/tQD60WVxp4Y/clip_image001%25255B5%25255D%25255B3%25255D.jpg?imgmax=800" width="187" height="240" /></a></td> </tr> </tbody></table> <div align="justify">Trevor Appleson photographed these people by rigging up a background and photographing them on random beaches suggested by the work of Irving Penn and Richard Avedon.  This developed into a more resolute and conceptual approach involving using a studio on location.  Appleson worked at dawn or dusk and took his studio to beaches, car parks, shantytowns and shipyards – anywhere where he could gain access to people in an informal way.</div> <table style="width: 400px" border="0" cellspacing="0" cellpadding="2"><tbody> <tr> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S2XbLk_o6wI/AAAAAAAACg8/nb691tdwX4k/s1600-h/pic03small%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[7]" border="0" alt="clip_image001[7]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9Ca-5tcENbfRcsXQYuDGSaFj1XstWGxojpQiEfmZJSqnFo7Yc-nHTWYCIvAJTK-CH6RM3Td0Dy6HOt8CrdJ_IXgDQBzCx9vTpaK7URPbt-mDwTp8_XMHf9IQQtWKeDYi8rjjPxNwUPT3L/?imgmax=800" width="186" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S2XbMZfYH4I/AAAAAAAAChQ/Zx9E9uDf7Es/s1600-h/pic04small%5B5%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[9]" border="0" alt="clip_image001[9]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqQsvKlTlJ5Ew1D8Uhy6qzP6vucyvlTZvN5c7cOZOV8NXmW-MZHZC2JoeHNt_JK5LtTZLaLJCJYLEUUURnTsHWoh3hAb2zFgciQlT-Yh1ic3rgHRY3XGnFeLAuKfwN_oFWRawtUmRHCcHC/?imgmax=800" width="186" height="240" /></a></td> </tr> </tbody></table> <div align="justify">People were attracted to his studio – it looked like a small film set – made up of a large backdrop and lighting.  The studio is a neutral space in which it is possible to photograph people in their natural environment.  The black background creates a neutral space within this environment, a setting in which a ‘model’ can be present as part of an ongoing narrative.</div> <table style="width: 400px" border="0" cellspacing="0" cellpadding="2"><tbody> <tr> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S2XdwT5h_lI/AAAAAAAAChg/l-9eJ8bu8tI/s1600-h/pic05small%5B5%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[11]" border="0" alt="clip_image001[11]" src="http://lh3.ggpht.com/-KytzsrnZ1Ig/T5GNJoB7cdI/AAAAAAAAGu8/oN65c7eVzaY/clip_image001%25255B11%25255D%25255B3%25255D.jpg?imgmax=800" width="187" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S2XdxV-kclI/AAAAAAAACho/20vxUl0dRsY/s1600-h/pic06small%5B4%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[13]" border="0" alt="clip_image001[13]" src="http://lh5.ggpht.com/-jvLUdE6BwKQ/T5GNKXKmI8I/AAAAAAAAGvE/fO1oN5U1-zA/clip_image001%25255B13%25255D%25255B3%25255D.jpg?imgmax=800" width="193" height="240" /></a></td> </tr> </tbody></table> <div align="justify">Working at dawn and dusk is a defining element of the process, not only because of the quality of light, but also because of the randomness of the people who happen to be on the street at these particular times of day.</div> <table style="width: 400px" border="0" cellspacing="0" cellpadding="2"><tbody> <tr> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S2XgpqQO5kI/AAAAAAAACjg/CFJn-YSAItk/s1600-h/pic07small%5B1%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[15]" border="0" alt="clip_image001[15]" src="http://lh3.ggpht.com/-YfYbh-2SKu0/T5GNLL9dlEI/AAAAAAAAGvM/dEvEBGNRnCA/clip_image001%25255B15%25255D%25255B3%25255D.jpg?imgmax=800" width="199" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S2XfUqC1e-I/AAAAAAAACjs/SmefzXmiaes/s1600-h/pic09small%5B1%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image002" border="0" alt="clip_image002" src="http://lh4.ggpht.com/-EKuGYd57kK4/T5GNL1bnBEI/AAAAAAAAGvY/-VrW5q2OsXM/clip_image002%25255B4%25255D.jpg?imgmax=800" width="180" height="240" /></a></td> </tr> <tr> <td valign="top" width="200"><a href="http://lh4.ggpht.com/_njNuuPdpCDc/S2XfTmP0jiI/AAAAAAAACj8/b5jtsS1_rpw/s1600-h/pic08small%5B1%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image002[5]" border="0" alt="clip_image002[5]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIBd5mcg1LHDXve6xg_2oXU9A1bhEmvt1fIsjmehgeh-Gv4PXuEIamB3HdgtaOXaPuM5cf_lSd0W1rkwQrlu0-uZl8QqFk9Ft2vGRDmMczDAFUKcddPIxJ2fyYEVjNcVEx8hnnZc6IdljG/?imgmax=800" width="178" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S2XfWe56LLI/AAAAAAAACkI/tzpJC6cnRNU/s1600-h/pic11small%5B1%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image002[7]" border="0" alt="clip_image002[7]" src="http://lh5.ggpht.com/-0GHYWwXgmqk/T5GNNi453_I/AAAAAAAAGvo/7ouczdU834M/clip_image002%25255B7%25255D%25255B3%25255D.jpg?imgmax=800" width="192" height="240" /></a></td> </tr> <tr> <td valign="top" width="200"><a href="http://lh5.ggpht.com/_njNuuPdpCDc/S2XfVuc9AmI/AAAAAAAACkc/Xvs7rUx6VVM/s1600-h/pic10small%5B1%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[17]" border="0" alt="clip_image001[17]" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEoOcMo_dfaqspDwwIEMgC3TltU2jPh7gUeQMulhZEAPGAlsCKQN_hbnqtm5UmOffEvUtuc-0ia7r2VBDHctmE9GoKvnmxFsEC_Vi4VTTyHRQ3CjYeALBRldBWJCkbrX0nmQYKan0WAdBc/?imgmax=800" width="196" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S2XfXdhr_fI/AAAAAAAACko/iBYchNpwlxw/s1600-h/pic12small.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="clip_image001[19]" border="0" alt="clip_image001[19]" src="http://lh5.ggpht.com/-s-wTgGWUpF4/T5GNPUPm9XI/AAAAAAAAGv4/57pMmwC7QMk/clip_image001%25255B19%25255D%25255B3%25255D.jpg?imgmax=800" width="190" height="240" /></a></td> </tr> </tbody></table> All these photographs are taken as three-quarter lengths, whereas mine are full length.  I have to worry about cross-shadowing which I was, at first, trying to avoid, but I like it now and I don't think I will worry about it too much, unless it becomes distracting. Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-4272388916774558522010-01-26T12:07:00.001+00:002012-04-20T17:32:36.168+01:00GLENN BUSCH – WORKING MEN<p align="justify">Glenn Busch’s book ‘Working Men’, featured portraits of male workers in New Zealand in the 1980s.  As you can see, his style is exactly like mine.  I think these types of images work better in colour as it would give more of a sense of the workplace.  I feel that black and white ‘dampens down’ the reality and gives the images a ‘bleakness’.</p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="200"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCxllc7AvAcyHZYbQUfJUVamx-r4BlrzdFZ8idxwCEQspHskDdMRtjaKeOQCerndzXHNYuJb3F8Bh5BcC-w39foOnLo9Gh1od4W8RYpbRvvIvQwxDOjYdWROhwLSiaxnNvPrH7PFi8BLLu/s1600-h/1983_63_32%25255B7%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="1983_63_32" border="0" alt="1983_63_32" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJqn-Wy0UuUP4UmKiH6Exr_kmFauw8hyphenhyphenttStLO7yvs-goLkkU3XA3hEyi9cWvvn42PeNxXSnJE_chZ94Ky2vzS2kDmASiy2hoyM3QAnq8MySAaDJ810Pu1xa1-pm9yrZp30_BthV11T_TP/?imgmax=800" width="240" height="239" /></a> </td> <td valign="top" width="200"><a href="http://lh4.ggpht.com/-3rCzCUVVyYM/T5GPYjtEtSI/AAAAAAAAGwQ/tse0K55zSXc/s1600-h/1983_63_39%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="1983_63_39" border="0" alt="1983_63_39" src="http://lh6.ggpht.com/-AX_KEVQdq7c/T5GPZ6vRgHI/AAAAAAAAGwY/G_A-b9UGaS4/1983_63_39_thumb%25255B1%25255D.jpg?imgmax=800" width="239" height="240" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="http://lh6.ggpht.com/-QjgYOAtqKmU/T5GPay95RrI/AAAAAAAAGwg/80HrGUhgcF8/s1600-h/1983_63_19%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="1983_63_19" border="0" alt="1983_63_19" src="http://lh6.ggpht.com/-HO7wTz1h2PE/T5GPb-3NgdI/AAAAAAAAGwo/mCJOgE5FxBo/1983_63_19_thumb%25255B1%25255D.jpg?imgmax=800" width="240" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh4.ggpht.com/--lEn0fPDxV8/T5GPfuEkzgI/AAAAAAAAGww/WNZETaGz9as/s1600-h/1983_63_26%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="1983_63_26" border="0" alt="1983_63_26" src="http://lh6.ggpht.com/-EFGcJsbJrfM/T5GPgrqa7pI/AAAAAAAAGw4/lw5gW3pC0Hg/1983_63_26_thumb%25255B1%25255D.jpg?imgmax=800" width="240" height="240" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/-MMeGbXfpy8o/T5GPhroDyoI/AAAAAAAAGw8/Z4Mc4dhfIu4/s1600-h/1983_63_18%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="1983_63_18" border="0" alt="1983_63_18" src="http://lh6.ggpht.com/-1NbnGVVU1OA/T5GPic4LRcI/AAAAAAAAGxI/MlxW9Di7FeE/1983_63_18_thumb%25255B1%25255D.jpg?imgmax=800" width="237" height="240" /></a></td> <td valign="top" width="200"><a href="http://lh3.ggpht.com/-nrQwb0EO8tw/T5GPjU6E9WI/AAAAAAAAGxQ/DsPeL08EbwY/s1600-h/1983_63_16%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="1983_63_16" border="0" alt="1983_63_16" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYQBCqRiV7cXf9vCFxwDI4ON-CJm2XUdulcoi9qyi81wLvUekTbKorjGYwvgX05ClryrQdEGaikXaHoWLSpdNt12uLY93pYDuL5w9-yTZ6YBUhyphenhyphenaz1PfeOBvWs83zFxTtZTVpEgu0yuzru/?imgmax=800" width="240" height="238" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw1oaqjZTnFR5zb7popntohOJAl7TSliA-k6w-j0QPQO8fKNuMuPxKgdEiTzxbYIaS6AchFU8Z7D-zfePqUJStA5zCYOpLWyKVGMI4xnSQJVX12Eb-jkaj35t9ahtaA-TzHhF8l93THPm8/s1600-h/1983_63_18%25255B7%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="1983_63_18" border="0" alt="1983_63_18" src="http://lh6.ggpht.com/-3lk9YQoc0iI/T5GPmnT-5FI/AAAAAAAAGxo/zhGWefWEzXo/1983_63_18_thumb%25255B3%25255D.jpg?imgmax=800" width="237" height="240" /></a> </td> <td valign="top" width="200"> <a href="http://lh3.ggpht.com/-gZH8LvRCpFk/T5GPnqQb7-I/AAAAAAAAGxw/RBPI_p6qTng/s1600-h/1983_63_3%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="1983_63_3" border="0" alt="1983_63_3" src="http://lh3.ggpht.com/-8dMUm2FWhbg/T5GPogXTSKI/AAAAAAAAGx4/YPPY_84MIyM/1983_63_3_thumb%25255B1%25255D.jpg?imgmax=800" width="240" height="238" /></a> </td> </tr> </tbody></table> <p align="justify">There are no women pictured in this book - I would like to get a good balance of men and women in my work, but it all depends who agrees to be photographed.  Busch photographed only manual workers, which is a male-dominated area.  </p> <p align="justify">Sheridan Keith in his review of Busch’s book feels it was a pity that for comparison there are no car salesmen, retailers, lawyers, accountants or MP's weren’t included and that it would have been <em>“interesting to see if the common themes that emerge in Busch's group were consistent throughout a wider range of wage earners.”</em></p> <p align="justify">I like the way Busch has captioned his pictures, ie <em>Jack Taylor, Boat Builder</em> and <em>John Dale, Labourer, Demolition Gang</em>.  This is similar to how I am thinking of captioning my pictures.  However, I may omit the workers names as they are representative of all workers in their particular field and feel it may be uncessary naming them as individuals.</p> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-42544304538513803302010-01-26T11:57:00.001+00:002012-04-20T17:34:16.278+01:00AUGUST SANDER<p align="justify">In the 1920s and 1930s, German photographer August Sander photographed workers.  His portrait style shows workers with the accoutrements of their trades, but they are not shown actually working.</p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/-mZLCunJPnmk/T5GP7SsUMJI/AAAAAAAAGyA/m--rJ6cQqhM/s1600-h/august_sander_15%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="august_sander_15" border="0" alt="august_sander_15" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIV5jlsX0-Th5WCT6blC5Rgl9zUgNaQLCFzRugHdcS8hn4goH6ZekSXXwePghAPEM04pXA8fwqY2R4k-cU_XzjTG9DRQECNR04a_c_w9GVayVgkgAm6YyKppaQYa1UOu4m_VW1JhRo8EMf/?imgmax=800" width="193" height="240" /></a> </td> <td valign="top" width="200"><a href="http://lh5.ggpht.com/-ZwXV1J8R7Q0/T5GP854UOmI/AAAAAAAAGyQ/OyJdMGdLgpY/s1600-h/august_sander_brick_worker%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="august_sander_brick_worker" border="0" alt="august_sander_brick_worker" src="http://lh3.ggpht.com/-98ATnLkrywM/T5GP-PGFsgI/AAAAAAAAGyU/PNmfubwe0OY/august_sander_brick_worker_thumb%25255B1%25255D.jpg?imgmax=800" width="193" height="240" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/-mxTvD74JWy8/T5GP-_mCSGI/AAAAAAAAGyg/vZHYA3n2CbM/s1600-h/august_sander_25%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="august_sander_25" border="0" alt="august_sander_25" src="http://lh6.ggpht.com/-gaSHI2oC4XI/T5GP_89Je5I/AAAAAAAAGyk/3fSvVaSQ-sY/august_sander_25_thumb%25255B1%25255D.jpg?imgmax=800" width="193" height="240" /></a> </td> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEq8ruhfADt7dw04WovGjd1ww0HrKcBp1ftvaK3xkTMQpmQo7ZUkXkv30JA-D_OkwtKrC1g8EUvj-0xISrrCkQDfewvj08wDAdazRK0MqsHUTErbYHuLaaxP-cr81MlrFGhqOr4hY0ycY/s1600-h/sander%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="sander" border="0" alt="sander" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH_s2xefeDBeuJbTfDe4Dxam-MoTtCuOD26VVjkNPXzaiEOGhrou1Y2M4TqCi4G-duyfWLEY-ToVk6MDYzGhMquUGUdnO4Iaxkvci4_Kiz1JuuV3KgQQ4J4AddTYnhWKSLlhJ7tQM52Poa/?imgmax=800" width="160" height="240" /></a> </td> </tr> </tbody></table> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-11706645905595077552010-01-26T11:40:00.001+00:002012-04-20T17:36:01.540+01:00SHAUN WAUGH - 'ME37 NIGHTSHIFT FREEZING WORKERS'<p>Shaun Waugh</p> <p align="justify">ME37 Nightshift Freezing Workers by Shaun Waugh was a billboard project, featuring 54 portraits of individuals employed at the Belfast freezing works, the images explores photography’s uneasy position between subjective and objective modes of representation.</p> <p align="justify">This is what I am trying to do with the people I photograph.  </p> <p align="justify"> <br />Each worker is photographed in their overalls and white gum boots against a relatively blank background of insulation panelling and concrete flooring. There are no overt props, just  the odd pair of plastic gloves, ear-muffs or a hair net. </p> <p align="justify"><img src="http://www.coca.org.nz/media/images/2008/10/14/banner.jpg" />These photographs play with the conventions of traditional portraiture and the social documentary image, whilst also referencing recent trends in contemporary photography. </p> <p align="justify"><img style="display: inline; margin-left: 0px; margin-right: 0px" align="left" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj-VzH5MqddVaDGeM9SIKPEF0cuKUXJkDGGINpIsC2tZ8wtcJ8Lc1lbsEnf9vwb6fKIO8wuVXbvL5xfYzLWCs0kmt7nOD7D_CD9_W7Zz3w5gnCHj9W62P0i9SxraD1eVfzaG6_WRj8KVw/s400/+'ME37+Nightshift+Freezing+Workers'+billboard+installation,+Waltham+Rd+Chch.jpg" />Waugh’s images reflect upon what it is to see and be seen; what it is to be subject and viewer. In an attempt to minimize his presence as photographer, he offered only minimal direction to those who stood before his lens; participants were simply asked to stand facing the camera. Of more importance to Waugh is that his subjects respond to the camera in as raw and intuitive a way as possible. Within the highly structured composition of each image, then, he offers his subjects a certain freedom of expression. Yet it is interesting to see how each individual continues to respond to the camera according to an established set of conventions; although each slightly different, the poses we see here are certainly familiar stances within the realm of the photographic portrait.</p> <p>Text taken from: <a href="http://www.coca.org.nz/exhibitions/60/">http://www.coca.org.nz/exhibitions/60/</a></p> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-35087173968383353732010-01-19T12:18:00.004+00:002012-04-20T17:42:32.487+01:00HOW TO LIGHT PEOPLE<p align="justify">The BJP this week has a feature on how best to light people, cars, paper and animals: <br /> <br /><a href="http://www.bjp-online.com/public/showPage.html?page=872565">http://www.bjp-online.com/public/showPage.html?page=872565</a> </p> <p align="justify">Below is an extract and is copyright BJP. <br /> <br />They say that flash is often the only way to achieve a certain look, feel, or level of control, but that doesn't mean the results have to look uniform. Portrait photographer Richard Ansett says his flash technique is what separates his work from documentary photography, for example, while Satoshi Minakawa uses innovative lighting to add a daring twist to his car shots, and in William Selden's hands lighting helps create subtle yet sophisticated fashion and advertising. These four photographers use flash in highly idiosyncratic ways, defining their styles and achieving their distinctive looks.</p> <p align="justify"><strong>Richard Ansett</strong> </p> <p align="justify"><a href="http://lh6.ggpht.com/_njNuuPdpCDc/S1xkk9km-oI/AAAAAAAACQU/1zbjw5iy22E/s1600-h/david-lynch-1%5B6%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; margin-left: 0px; border-top: 0px; margin-right: 0px; border-right: 0px" title="clip_image001" border="0" alt="clip_image001" align="left" src="http://lh5.ggpht.com/-n7lIfgCkbow/T5GR7grxoeI/AAAAAAAAGzA/rpv2kCch95Q/clip_image001%25255B4%25255D.jpg?imgmax=800" width="197" height="240" /></a>Richard Ansett is known for his social-documentary approach to commercial work but says his style is defined by 'deliberate use' of flash lighting. </p> <p align="justify">Ansett always carefully manages his light. 'I almost entirely direct a light right-to-left, and use a single soft box,' he says, and adds that he also likes to 'feather-light' his subjects, direct light from a single soft box to just miss the subject. It gives a softer, more natural feel to pictures, and also casts more light onto floors and backgrounds. 'A direct soft box means a lot o<a href="http://lh6.ggpht.com/_njNuuPdpCDc/S1xkl4_e__I/AAAAAAAACQc/VAAqatzS_gk/s1600-h/owen%26mel008rt2M%5B9%5D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; margin-left: 0px; border-top: 0px; margin-right: 0px; border-right: 0px" title="clip_image002[5]" border="0" alt="clip_image002[5]" align="right" src="http://lh4.ggpht.com/-Aelio39ilIw/T5GR8c5pdqI/AAAAAAAAGzI/pTZn4RmgeEo/clip_image002%25255B5%25255D%25255B3%25255D.jpg?imgmax=800" width="193" height="235" /></a>f light on skin but not much elsewhere,' he explains. 'We've got the flash mounted on a shopping trolley, which means I can direct my assistant to make these minute adjustments until I get it right.' </p> <p> </p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong></strong></p> <p><strong>William Selden</strong> </p> <p align="justify"><a href="http://lh3.ggpht.com/_njNuuPdpCDc/S1xjCEneosI/AAAAAAAACQs/FngEzZpZVLg/s1600-h/JARVIS%5B3%5D.png"><img style="border-bottom: 0px; border-left: 0px; display: inline; margin-left: 0px; border-top: 0px; margin-right: 0px; border-right: 0px" title="clip_image002" border="0" alt="clip_image002" align="left" src="http://lh5.ggpht.com/-QAUNsQNt2xo/T5GR9bTONcI/AAAAAAAAGzQ/BTykEu93i2M/clip_image002%25255B4%25255D.jpg?imgmax=800" width="237" height="240" /></a>For the Jarvis Cocker portrait shown, William Selden put the lights up high to mimic midday sunlight. 'I hate low-angle lighting that tries to recreate evening light,' he says. 'For this shot, I may have half-closed a brolly to soften things up, but I like to avoid fill (flash). I altered the shadows in Photoshop to achieve a softer look.'</p> <p align="justify">He's a big fan of digital capture, which he believes has enabled his lighting style. 'Photography's changed so much in the last 15 years, everyone's huddled around a monitor (on shoots) now,' he says. 'It's more collaborative. There must have been more photos taken in the last 10 years than in the 150 years before, thanks to digital. And I suppose that deadlines are set for digital nowadays -clients want things next-day, the benchmark's for digital.'</p> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-16304787577252546002010-01-17T15:59:00.001+00:002012-04-20T17:46:16.142+01:00EVAN BADEN – THE ILLUMINATI<p align="justify">Evan Baden photographed people lost in a virtual world.  I like these photographs because they are shot in low light conditions – the gadget’s they are using being the only light source.  I like the subtlety of the light, but it is also enough to illuminate the face.</p> <table border="0" cellspacing="0" cellpadding="2" width="352"><tbody> <tr> <td valign="top" width="200"><a href="http://lh5.ggpht.com/-QvIYG5ZHbQw/T5GSnciu4RI/AAAAAAAAGzY/P6qVue6g6YU/s1600-h/Hi-tech-kids-001%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="Hi-tech-kids-001" border="0" alt="Hi-tech-kids-001" src="http://lh4.ggpht.com/-1S5TYbZtypY/T5GSocMFMGI/AAAAAAAAGzc/sntmF3HDCQ4/Hi-tech-kids-001_thumb%25255B1%25255D.jpg?imgmax=800" width="206" height="240" /></a> </td> <td valign="top" width="150"><a href="http://lh6.ggpht.com/-7elhrOOJl00/T5GSpJy8Y4I/AAAAAAAAGzo/Ynq4l32xduI/s1600-h/Hi-tech-kids-003%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="Hi-tech-kids-003" border="0" alt="Hi-tech-kids-003" src="http://lh4.ggpht.com/-g2Ew12zxKlc/T5GSp0ln5TI/AAAAAAAAGzw/1H5-L0-QnJU/Hi-tech-kids-003_thumb%25255B1%25255D.jpg?imgmax=800" width="168" height="240" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/-jG1KXYTm41w/T5GSq_xuWtI/AAAAAAAAGz0/OSTKM3dSwY4/s1600-h/Hi-tech-kids-004%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="Hi-tech-kids-004" border="0" alt="Hi-tech-kids-004" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdJ9PrTrHbugX3JejYDmhWl2js8o16sf292UtcMtRYKUVhMWbE8enKkrzHAd1QzVoQtT6ejMSbk0LBHsC60lzzBJf5XG2At5BVuv_erRoTLH2FD0RVliNIHtb05mZr-gGwrVM5aDfA127W/?imgmax=800" width="192" height="240" /></a> </td> <td valign="top" width="150"><a href="http://lh5.ggpht.com/-l0QDkFsWqKk/T5GSslMxvlI/AAAAAAAAG0I/jmYF2RTpRQo/s1600-h/Hi-tech-kids-006%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="Hi-tech-kids-006" border="0" alt="Hi-tech-kids-006" src="http://lh3.ggpht.com/-8ovr9MNSrjM/T5GSt9qyROI/AAAAAAAAG0M/uTQB4C84w0c/Hi-tech-kids-006_thumb%25255B1%25255D.jpg?imgmax=800" width="188" height="240" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="http://lh5.ggpht.com/-c8LdxgtPcdU/T5GSwirxySI/AAAAAAAAG0Y/eDumCghGqP4/s1600-h/Hi-tech-kids-007%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="Hi-tech-kids-007" border="0" alt="Hi-tech-kids-007" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6uZTrIkPq1Ezo8k1GQetl3IJnHxFrnnbCml5FsA9HGOq_uL4oymnsV7Sh0sPqr19HT0JtwfTFAPE9FnstLyFRBvbg0gQa-z2i-Bgmqedr2AqsQzY0ZHHT76IlGUbTRsDTkh_SiloG2-OW/?imgmax=800" width="170" height="240" /></a> </td> <td valign="top" width="150"><a href="http://lh3.ggpht.com/-_6909mr3qbM/T5GSynRLfhI/AAAAAAAAG0o/ySEl-H2WoTw/s1600-h/Hi-tech-kids-008%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="Hi-tech-kids-008" border="0" alt="Hi-tech-kids-008" src="http://lh5.ggpht.com/-vqmkJv3_60c/T5GSzscJjOI/AAAAAAAAG0w/SfWT4A2xp3w/Hi-tech-kids-008_thumb%25255B1%25255D.jpg?imgmax=800" width="188" height="240" /></a> </td> </tr> </tbody></table> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-12980010027866027282010-01-17T15:34:00.001+00:002012-04-20T17:50:27.437+01:00SIRKKA-LIISA KONTTINEN – BYKER REVISITED<p align="justify">Sirkka-Liisa Konttinen photographed Byker in Newcastle in 1984.  She returned in 2004 to photograph it again.  It is the style of the 2004 photographs that I like best.  The use of colour gives a kind of ‘rawness’ to the pictures, they seem more real to me.  Like the images of Brascher and Fischer, the images have the quality of a painting.</p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="200"><a href="http://lh6.ggpht.com/-xJr7oeZ2yn4/T5GTtvI6tHI/AAAAAAAAG04/Fkk-dZiOnno/s1600-h/2846%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="2846" border="0" alt="2846" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFeEhY8E0xgbDoCyCWHDRE9Y6jJ4aXemcu8ue7QDM_AsJAlAsykIlVUPBy687DAd1n2fWZXuvQ7x3iSJ7ZpmM_FztPAIK6evDt06M2alPrCrcA8FZuFW3dPvHSHisaVdV01ZzJHa15JeGs/?imgmax=800" width="240" height="192" /></a> </td> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwVGIkiy567x_ZFA0kqI3ImCV2EiSJG2uEfAQ0BLO9KN_x5AdXM3Cpdpck0DNcGEkVsJltwKfPJ9GHMYgNz9V8QLUdPcJ9IdaiVdX9EIlKOXYUUnpSH4sQPgcbZQKmP_TBmPpfEV81Udc/s1600-h/2847%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="2847" border="0" alt="2847" src="http://lh6.ggpht.com/-n6FxT47_v2U/T5GTwqAOSaI/AAAAAAAAG1Q/9kK9mqdrTmA/2847_thumb%25255B1%25255D.jpg?imgmax=800" width="240" height="191" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="http://lh3.ggpht.com/-S-HcThaH85c/T5GTxVS8Q0I/AAAAAAAAG1Y/mGP1KnCC4lQ/s1600-h/2850%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="2850" border="0" alt="2850" src="http://lh4.ggpht.com/-D_Ak194XYic/T5GTya7RfbI/AAAAAAAAG1g/s7i8dIVV-iI/2850_thumb%25255B1%25255D.jpg?imgmax=800" width="240" height="191" /></a> </td> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqIAZ_QPYbJx3Iy5hc3Hk47Q725BDnaUoeRCCuOvcHfdoqdK9OKA745D_KdVgytJEBZwygKmuDRYNhcUQn-1KlJ-xI6PMskybewjYVJbFBGwrPF8SmZlAxG74mKtKIMIRW2RgLm3_dnzR9/s1600-h/2854%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="2854" border="0" alt="2854" src="http://lh3.ggpht.com/-JxWOHstba2k/T5GT0SVIivI/AAAAAAAAG1s/dI4wRSfBjSc/2854_thumb%25255B1%25255D.jpg?imgmax=800" width="240" height="191" /></a> </td> </tr> </tbody></table> <p align="justify">  <object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/khkdIXr42QA&hl=en_GB&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/khkdIXr42QA&hl=en_GB&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></p> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-76810884498033268412010-01-17T15:20:00.001+00:002012-04-20T17:55:44.767+01:00BRASCHLER AND FISHER – PORTRAITS<p>Here is a collection of portraits photographed in the same style:</p> <p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtDbyh6YlOHppbz4iz23rxoWqo38G-v0Mx6QtbxC7rwXZr6tc2_AzmU5fo5H6QaUfOVLgb8qfXBmzeVjy1Sd6kAqxiRNOyQ5UCGxTLCWpX1-hzQ5Egx31KdcA0hP9bsFXXivGWBeq5ejx6/s1600-h/pic01%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="pic01" border="0" alt="pic01" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9oWFJ3MUtsXvnm9EL0MKAdISgjCmDbPlHUa8oCZsPgDP_E69R4JEBoAQGtdqrbYoxr-v9XY9UgjsEnaSEVTlqByVlJZy6rOsDzTGL1xOpgqMjruG8Wz8Njsww3AqfAmdc11YzB0nSoshZ/?imgmax=800" width="189" height="240" /></a> <a href="http://lh6.ggpht.com/-HhRSi2o-ur4/T5GU9ozW36I/AAAAAAAAG2E/iCOVcDQpwQw/s1600-h/pic03%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="pic03" border="0" alt="pic03" src="http://lh4.ggpht.com/-ZbrcX5quNc0/T5GU_xdbcCI/AAAAAAAAG2Q/V2IukmtOszw/pic03_thumb%25255B1%25255D.jpg?imgmax=800" width="186" height="240" /></a>   <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGTaumaCGcTmprz7OPvwnG-4slKqumVYlk9ZmweCSSlYg_kZ8RYliC1gkYaTfBZ3oTnqiThqfEs3S6iLZop_zDddibJUSJSFkvlBg4lT2YqCFNBpRY7dzkmSalsLU8AK6qh2Jc2FWMEKsa/s1600-h/pic05%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="pic05" border="0" alt="pic05" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjweYekZGPoeVWPVcnmy6VZJJOkrmj8nSxYyXEdHDLsHrpYTzFAG2E3EkPVYPLEu2Whd-oBLzFrOEWYZd-yVi_ZdKwGxMexnOyfdve2gDKq6AnLmDTmcNUsDlN-97shdIXx8VqAFaxuhVML/?imgmax=800" width="237" height="240" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbBSPBPAyOr6eX-Uh_ZNWO9z7KgE3HfAHVFSLPlh_LZqO4O9oucC1mFehfN1YcBpVYKegNRIpDpbxDDylQDYXRcHyE8QQgrSZGLwJlnOMEqmx-NyRG01wHEpUoUSBjeIK3yhNginbxu_6p/s1600-h/pic04%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="pic04" border="0" alt="pic04" src="http://lh6.ggpht.com/-N68I5kODXRo/T5GVDm4Kq9I/AAAAAAAAG2w/HSIzTZjQAc0/pic04_thumb%25255B1%25255D.jpg?imgmax=800" width="189" height="240" /></a></p> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.comtag:blogger.com,1999:blog-4643708597953775826.post-46666743665280174542010-01-17T15:18:00.001+00:002012-04-20T18:01:01.035+01:00BRASCHLER AND FISHER – ABOUT AMERICANS<p>This photo-essay is about everyday Americans in their natural environment.   </p> <table border="0" cellspacing="0" cellpadding="2" width="400"><tbody> <tr> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj6bMd0YvJivbF7sQVppM48Sf9OJHE7nQci7KJ6vK3PSNeK0QDyj0gbnp5w-RS1JI_V3-GjFAXrAIpajsN2owZz-Dko-RKMtaVzKFrYOh6bKaAMzcaaYCqyHxf6_Dh1fRafdA2705V6wo/s1600-h/pic02%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="pic02" border="0" alt="pic02" src="http://lh6.ggpht.com/-BM5JUQ0J1CA/T5GWLh126fI/AAAAAAAAG3A/irVdJPEqRek/pic02_thumb%25255B1%25255D.jpg?imgmax=800" width="238" height="240" /></a> </td> <td valign="top" width="200"><a href="http://lh4.ggpht.com/-FKD6DrvA0AM/T5GWM93n_rI/AAAAAAAAG3I/qI7xSZsGmkE/s1600-h/pic03%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="pic03" border="0" alt="pic03" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2sSjazXvmS5J3rWeSs414_RX2UCsaGJPKf7Uo4XeT8OZrc3ETuI6pJtA_D79Q4iGSS65sXyMJsx06ORZMBNsdp7KznsItLekU0iOgLdwIxwR909Obs2Rapn9nqL0gNJpphEF25yjRjWrx/?imgmax=800" width="237" height="240" /></a> </td> </tr> <tr> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJOIVQx5ApSNJZ8dSFNKre74CPhYsZ52hPCm9iAdbhlnM2XwtfAlhBkp9JuNc_hjZd91VkkyQ_dBDUGRJb6IF8LbBQBpQEIW-Ef0KxAzsq7fCzF7rXNyxNqGThRH3Q3rKJp9HD69fjrNs/s1600-h/pic07%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="pic07" border="0" alt="pic07" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDvWabCLekNe87aY4YdYfxMwruIePpeMdaoBdkrGvAt1Fxzy9IjLQQIszVI95kqj7cXZkSFZwiY8Tdj27lCrMRdqyUfFUe3hakpSMFJPLjJ6jbrOFHCJ8pYxrjN6ohHt70DaE9aVxdAnUw/?imgmax=800" width="188" height="240" /></a> </td> <td valign="top" width="200"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6T-6gsJ7spJdgOGlmxQtZmbvuTIhqnnuA7ob_iv9sXUa1ejXzbHjdmxzX70HxVVqCi3frTu9HwavoDKi6ehBQvsvfBCdNHJIwrOyvE8Manb-Q1hPgHD2Hb1ErjRK5s_oyijl07uTqkI0/s1600-h/pic04%25255B3%25255D.jpg"><img style="border-bottom: 0px; border-left: 0px; display: inline; border-top: 0px; border-right: 0px" title="pic04" border="0" alt="pic04" src="http://lh5.ggpht.com/-Q336WZo7q2I/T5GWSwUwmtI/AAAAAAAAG3w/id8Nhhv5MBE/pic04_thumb%25255B1%25255D.jpg?imgmax=800" width="240" height="190" /></a> </td> </tr> </tbody></table> Karen Hopehttp://www.blogger.com/profile/05590839185202332263noreply@blogger.com