ISO 400

ISO 400 Been jumping in and out of photography for far too long. Time to take it seriously. Welcome.

Robbie Robertson. 1943-2023Sad to hear of the passing today of Robbie Robertson, member of The Band.As a kid I spent hou...
10/08/2023

Robbie Robertson. 1943-2023

Sad to hear of the passing today of Robbie Robertson, member of The Band.

As a kid I spent hours listening to their albums, they were by a long shot, my dad's favourite band. He bought their farewell concert album The Last Waltz at some point 1979/80....it blew me away.

Methinks it's time to re-visit.

Picture credit: Elliott Landy/Landyvision, Inc.

Robbie Robertson and Levon Helm at Levon and Richard Manuel's house, Big Pink, Woodstock, N.Y. 1968.

On this day.... On 3rd August 2004, the French humanist photographer Henri Cartier-Bresson died. From various internatio...
03/08/2023

On this day....

On 3rd August 2004, the French humanist photographer Henri Cartier-Bresson died. From various international obituaries, I particularly find a line from the German newspaper the Frankfurter Rundschau to be pretty accurate:

‘The eye of the century has closed’

For me, that’s a fairly spot on impression of the life of one of the major artistic figures of the 20th century.

But I’m not going to wax lyrical about his influence or the great images he produced. Rather, just a brief mention of his visit to Liverpool in 1962.

Yes, one of the most influential photographers of the 20th century visited Liverpool. Oh, and it had nothing to do with the Beatles either.

Cartier-Bresson came to the city in 1962 as part of a team filming a TV documentary about northerners. And it appears he wasn’t totally enamoured with Liverpool and the English north. In ‘Notes from the North’ (now in the Walker Art Gallery archive), he wrote:

"Writing about the same people of the North at work amounts to the same as writing about them at play. Their looks are not so different neither are their clothes. There is no exuberance on their faces nor gestures. They are hard at it but in a resigned sort of way. Their vacationing seems just an occupation as any other. […]

There is still very much a feeling of the dragging of the 19th century … I look at it from the windshield of my camera. In these pictures are the impression I have gained."

From a wash house in Lodge Lane, Cammell Laird’s to outside the Walker Art Gallery itself, Cartier-Bresson’s eye and famous Leica camera documented a city in transition.

Check out this informative blog for more:

https://gerryco23.wordpress.com/2012/05/04/cartier-bresson-in-liverpool-2/

Or

Magnum Photos for biography:

https://www.magnumphotos.com/photographer/henri-cartier-bresson/?gclid=Cj0KCQjwuaiXBhCCARIsAKZLt3mvKnD16r7grRjaXmOnnxM42wZYuflGueCaNnSO4hwR00v9Itg9LZ0aAuaIEALw_wcB

Absolutely love the colours through the up-coming film Napoleon. That palette is stunning. Seems to hit all the right le...
11/07/2023

Absolutely love the colours through the up-coming film Napoleon.

That palette is stunning. Seems to hit all the right levels for the dust and dirt that would have been around his world.

Some uncommon banality.
07/07/2023

Some uncommon banality.

James Nachtwey (b.1948)The long readI posted some days ago, about Edward Chambré Hardman, the Pictorialist mid-20th cent...
26/06/2023

James Nachtwey (b.1948)

The long read

I posted some days ago, about Edward Chambré Hardman, the Pictorialist mid-20th century photographer.

Here's someone completely different. A photographer as different to Chambré Hardman as you can get.....James Nachtwey.

Without being too presumptuous, I'm going to guess a few people have heard of the photojournalist who's works have visually defined conflicts and disasters for the past 40 years. If not heard of, I'll guess that his images may be familiar, gracing publications such as Time, Life, National Geographic, as well as newspapers around the world. Most people are bound, consciously or not, to have seen something by Nachtwey. There's barely been a conflict or humanitarian issue that hasn't been looked at through his eye and camera. Even now, aged in his 70's he still feels the need to document....check his IG account....his most recent work is from Ukraine, and powerful images they are as well.

The photograph is from Sudan, 2004. Nachtwey was working on a photo-essay for TIME called 'Surviving Darfur'. In a hospital ran by Médecins Sans Frontières, he met a mother and her son, desperately sick with Hepatitis E. They were part of an estimated 2 million displaced by the conflict in the region following attacks by government backed Arab militia.

The image achieved first prize at the 2005 World Press Photo Contest, Contemporary Issues.

Why? Well, for me, it's a truly striking scene of a mother's love, and anguish as her son suffers. Even without a caption or explanation, the photograph speaks volumes of the desperation a parent goes through when their child is sick.

I'm a parent, my son has been sick. Whilst I have no understanding of the circumstances of this mother and her son, I understand where she's coming from.

The attached painting is by Renaissance artist Ercole de’ Roberti, painted circa 1482/6. It's called 'Pietà', Italian for pity. As with all Pietà's, it depicts the dead Christ across the knees of Mary, symbolising one of the key foundations of Renaissance Catholicism....the Virgins love for her son, and therefore us.

As part of a larger altar, prayers would have been given. The work was done during plague times, life was hard for the 'common' person, death and sickness around the corner. Many viewers of this would, more than likely know the death of a child. They would therefore share in the grief of Mary. The viewer would understand where Mary was coming from.

Nachtwey's photograph is a beautiful image from someone with no ordinary eye. Nachtwey has stated:

"If beauty does exist or coexists with tragedy, it's part of life, not something I or any other photographer is imposing. I don't make pictures for the sake of beauty. [...]

But if someone looks at any of my pictures and all they see is something beautiful, the picture fails."
Interview with Hilary Roberts, 2017

As mentioned, even out of context, the picture is a powerful piece of photojournalism.

The image is timeless. It has the appearance of a Renaissance Pietà, with its pyramidal composition. Even the mosquito net above brings suggestions of painterly drapery.

Whilst not about James Nachtwey, some lines from Carol Ann Duffy's 1985 poem 'The War Photographer' seem apt for this image:

'In his dark room he is finally alone
with spools of suffering set out in ordered rows.
The only light is red and softly glows,
as though this were a church and he
a priest preparing to intone a Mass....'

The long read.Edward Chambré Hardman (1898-1988).Based on the seeming popularity of his image 'Rain in Chester', posted ...
23/06/2023

The long read.

Edward Chambré Hardman (1898-1988).

Based on the seeming popularity of his image 'Rain in Chester', posted in a group a few days ago, thought I'd add a bit of background to the photographer Edward Chambré Hardman.

Born in Rathdown, Co. Dublin, in 1898. His photographic experiences started at a young age assisting his father, a keen amateur photographer. Helping develop large glass plate negatives from a brass and mahogany Lancaster stand camera, he'd process the negatives in the wine cellar and make contact prints in the apple loft!

In 1917 he served in the army in India, and met Liverpudlian Kenneth Burrell. They shared a passion for photography, resigned their army commissions in 1922 and set up a photographic studio in Liverpool. Hardman was the photographer, Burrell preferred to be more of a sleeping partner in the business. Burrell & Hardman soon became the fashionable choice for studio portraits.

Hardman married Margaret Mills in 1932. A photographer in her own right, when Kenneth Burrell left the business, she became even more important to Hardman. He'd go on to say he could not have achieved anything without her.

Although the portrait studio was the bread and butter for Hardman, it was always landscape photography that was his main passion. He was a Pictorialist at heart, strong composition and use of light were of upmost importance. But, he wouldn't hesitate to utilise any darkroom techniques to help his vision. He stated once:

'I have no hesitation in using any means of control, at any stage, which will help to give me the result I want, providing that such control does not conflict with the photographic character of the image'

Some of his most beautiful works were done during the 1930's, 40's and 50's, including what could be his masterpiece, 'The Birth of the Ark Royal'.

As home photography grew in popularity during the 50's, the commissions and other paid work became more scarce. Hardman retired in 1966.

Margaret died in 1970, a devastating blow to Hardman who lost his wife, photographic companion and a inspiration in the darkroom. Although still sent works for exhibition, he began to become more recluse and frail.

Hardmans entire collection would have been lost if not for a call in 1979 from a social service worker to the Director of Liverpools Open Eye Gallery, Peter Hagerty. He was requested to see Hardmans house, which had also been his studio, and give advice on the contents. Hagerty wrote:

'What a revelation awaited me, his home and studio were filled with early twentieth century photography, an entire collection of photographic prints, negatives, cameras, lights, darkroom equipment, letters and studio records. Although much neglected, a number of ceilings had collapsed in the intervening years, every room was crammed with photographs and ephemera and complemented by the more domestic scenes in the two rooms and small kitchen where Hardman and Margaret had lived.'

Hagerty helped form a trust in Hardmans name to be set up. After several years of illness, Hardman died, aged 90, in 1988.

His studio and house, at 59 Rodney Street, Liverpool, is now run by the National Trust and a long term conservation of his life's works ongoing.

Image credits: Walker Art Gallery, Liverpool.

Bit of mundanity again.
22/06/2023

Bit of mundanity again.

The boy on the move.With sticks.
20/06/2023

The boy on the move.

With sticks.

No. No, I will not smile.
20/06/2023

No. No, I will not smile.

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