Something extraordinary sombre and sad in this photo, taken around 1952. Railowsky Books, Valencia https://railowsky.com/producto/robert-frank-valencia-1952/
Watching Do not bend - the photographic life of Bill Jay https://youtu.be/wd47549knOU
I'm struck as ever by the burst of cultural energy that washed over the 1960s and early 1970s. And how, without this, the photos made by Tony Ray Jones wouldn't have happened.
From a review by Ian Buruma:
Most people can come up with a decent photograph once in a while, which will look like millions of other photographs. Only the greatest photographers can be easily identified by a unique personal style. Moriyama is one of them.
Very pleased to say that I will be attending Niall McDiarmid's workshop in Bristol in April 2018. I have some ideas for new projects. Most of my photography is on Instagram at the moment, but here are a couple of recent images from the opening parade of the Valencia Fallas 2018 that I quite like.
I am pleased to say I've been involved in the judging of this year's Foto Fenix
I have taken a series of portraits of Chelva people as they were waiting to take part in the benediction of their pets, part of the annual festival of San Anton, which takes place across most of Spain in mid-January each year. Some information about San Anton here - a rough translation of a long article in Spanish.
There is much that is wrong with the photos, particularly the white balance, but I am content with them. They were taken with my inner eye seeing Daniel Meadow's photobus pictures of Moss Side, Manchester in the early 1970s.
Preparing to make photos of the benediction of the animals, part of the San Anton Festival in Chelva, I'm reading this article about the influence of Tony Ray Jones on Martin Parr.
I'm very pleased to report that I have two photos in a forthcoming photo book published by PhotoBath
A sentence by WG Sebald, like a sentence by James Joyce, winds sensuously around your mind if you give it the space granted by reading aloud. The description of Mr Bloom making breakfast is one, as is Sebald's description of the anglers on a beach near Lowestoft. What Sebald's writing includes, in addition, are photographs. Carefully placed on the page, as if to illustrate a point being made, but uncredited, without caption and usually of poor quality, they add depth and mystery rather than clarification. Sebald world is a complicated fiction; perhaps the murky photos are a bridge back to a non-fiction world, but often they seem to intensify the mystery of the space in which the story is unfolding. In Vertigo, the narrator recalls losing his passport and obtaining a replacement. The text includes an image of a voided passport in which Sebald’s photograph and signature remain visible, but the face is obscured. It is what Rick Poynor has called writing with pictures.
A highlight of the recent Hay on Wye literary festival was a talk by the photographer John Bulmer. Not known to me before, his work came as a revelation, linking Roger Mayne, Don McCullin and Martin Parr. A highlight of Wind of Change, his new book of photographs, is a photo of Dun McCullin carrying an old woman to safety during the Greek and Turkish Cypriot war.