Recently I had the above image from Paris accepted by yourdailyphotograph.com. All very well and I feel really happy about it. However, I always do series. It is very rare that I just do one photograph of a subject or composition when I am walking the streets with a camera . Same thing here in Paris with The Eiffel Tower. Below I present the other photographs from the series. Photographed through a curtain while I had a cup of coffee with my friend and colleague Ilian. Now I like the other two images just as much. How about you? What is your opinion? Should I have sent one of the other images? It was a good day for photographing in Paris, and now I would just love to go there soon again for more photography and culture. Wine and coffee.
It has been SO long since I last wrote something here on my blog. Now is a good day to start all over again. This image just got selected by YourDailyPhotograph.com Last time I published some images was november 2019, from Paris. The year and the visit when this image was made…
Dear Per Erik,
Congratulations. We are pleased to announce our curators have chosen your image for inclusion into YourDailyPhotograph.com. We select a very small percentage of photographs submitted.
We expect your image to post in two days.
You’re in good company — in the recent past images from Henri Cartier-Bresson, Andreas Gursky, Richard Misrach, Andre Kertesz, Edward Burtynsky and other photography legends have appeared in YDP.
Twenty-four photographs from the Lewis Hine archive have been auctioned in New York. The rare prints were from the collection of the late New York photographer Isador Sy Seidman.
American sociologist Hine was one of the most important documentary photographers of the 20th Century. Because the notion of photojournalism and documentary did not exist at the time, Hine called his projects “photo stories”, using images and words to fight for the causes he believed in.
The prints span Hine’s career and many are from his most well-known projects, centring on the poor and disadvantaged from the Carolinas, New York and Pittsburgh.
All photographs courtesy of Swann Auction Galleries.
The above image: Hot day on East Side, New York, 1908.
I found these photographs in BBC.
Labourer on connector, Empire State Building, 1930-31.
About the top image:Â A still from Incoming by Richard Mosse. Photograph: Courtesy of the artist, Jack Shainman Gallery, New York and carlier|gebauer, Berlin.
Perhaps the most widely discussed exhibition of the year, Mosse’s vast three-screen video installation was not strictly photography, but addressed all the issues that the medium is freighted with as it negotiates the post-truth world. Shot on a hi-tech military surveillance camera that registers body heat from as far away as 30km, Incoming reimagined the contemporary refugee crisis as a Ballardian dystopian drama populated by spectral figures moving slowly through an alien landscape. Beautifully observed moments of heightened intimacy – a lone figure praying to Mecca amid the tumult around him – provide breathing space in an almost overwhelming audiovisual installation.
Together with Avedon, Penn, Steichen, Strand, Arbus, Cartier-Bresson, Albert Watson and a few more, he is one of the truly great photographers. For me. They are all different and perhaps I should not compare them. So I don´t. Read the article from The Guardian, by Sean O `Hagan.
See the images and imagine the sound that he recorded.    😊  Pelle
Smith took many famous pictures, but also taped hours of audio of jazz greats, writers and artists of the day in his New York loft. A new book explores his strange world
Smith was perhaps the single most important American photographer in the development of the editorial photo essay. His visual narratives, usually published in Life magazine, were often brutally atmospheric. He evoked the horrors of the second world war in the Pacific, where he was injured by mortar fire, and chronicled the working life of Dr Ernest Ceriani in the small town of Kremmling, Colorado, in his 1948 series, Country Doctor, now recognised as the first extended editorial photo story.
In 1955, Smith became a member of the Magnum picture agency, travelling to Pittsburgh for his first assignment, which entailed producing 100 photographs in three weeks to mark the city’s first centenary. He worked on the project for three years, producing around 21,000 photographs. Today, his legacy is maintained by the W Eugene Smith Memorial Fund, which celebrates and encourages the kind of humanistic photography he pioneered, if not the impossible tasks he set himself and his beleaguered editors.
• Gene Smith’s Sink by Sam Stephenson is published by Farrar, Straus and Giroux on 22 August ($26)
A US soldier during the final days of fighting to gain control of the island of Saipan from occupying Japanese forces during the second world war. Photograph: W Eugene Smith/Life/Getty
Smoke pours from the chimneys of an Ohio steel mill in a 1949 picture for Life magazine. Photograph: W Eugene Smith/Life/Getty
Country doctor Ernest Ceriani photographed after having performed a caesarean section during which both baby and mother died due to complications. The picture, taken in Kremmling, Colorado, was part of Smith’s groundbreaking photo essay for Life magazine in 1948. Photograph: W Eugene Smith/Life/Getty
From Lily Cole posing with a supersized Pentax to Bill Brandt hiding behind his Kodak wide-angle, cameras are the stars of this collection of snaps and selfies.Â
Featured image at the top:
Bill Brandt With His Kodak Wide-Angle Camera (1945) by Laelia Goehr
Goehr learned photography from Brandt, and here she captured him posing with his new wide-angle Kodak. The camera was originally used by police to photograph crime scenes, but Brandt experimented with it to produce a series of distorted nude studies
Many photographers are posing on their selfies with a camera, this is only natural. I guess. As you can see also the top photographers have thought of the same idea for their work. I wish I could visit the exhibition to see some of my favorites. 🌞 Pelle
Imogen and Twinka at Yosemite (1974) by Judy Dater
Judy Dater met Imogen Cunningham, a prominent American photographer, in 1964. Cunningham was a mentor to Dater, and the two became close friends. This image is from Dater’s larger series addressing the theme of voyeurism
Photograph: Courtesy V&A
John French and Daphne Abrams in a tailored suit (TV Times, 1957) by John French
Fashion photographer John French often left the actual release of the shutter to his assistants. Here, he has inserted himself into the picture, kneeling behind a tripod-mounted Rolleiflex, contrasting playfully with the polished elegance of the model
In this staged scene, US photographer Richard Avedon mocks the very industry in which he played such a major role with a model caught inside a car by a frenzied crowd of paparazzi
I am afraid I will, and I am very sorry for that. If you live close enough you SHOULD go there. Paul Biddle is a very good friend of mine, and one of the best photographers that I know. And know of. He has the gift to always creating interesting and surprising images from his imagination.
Photography is also, among many other things, capturing dreams. Seeing the inner vision and to let that come out. Paul is one of the best. I am sure that he and his colleagues will create a wonderful exhibition that will open up your fantasy as well. Go see!
Labels: Cartography of Dreams, Dimbola Museum and Gallery, Fran Forman, Jonah Calinawan, Maxine Watts, Paul Biddle, Reclaim Photography Festival, Surrealist Photography, Tami Bone
Canadian photographer Edward Burtynsky is best known for his large-scale images of landscapes altered by industry. An exhibition of his new work Salt Pans, a series photographed from the air above the Little Rann of Kutch in Gujarat, India, is on show in London.
😊 Pelle
Often from an aerial perspective Burtynsky’s pictures have a painterly, abstract quality. This shot, taken in 2012, shows the Thjorsa River in Southern Region, Iceland.
 “Nature transformed through industry is a predominant theme in my work,” says Burtynsky. “We are drawn by desire – a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success.”
The project documents a disappearing landscape. The geometric patterns detail the network of wells and vehicle tracks made during the extraction of hundreds of tonnes of salt from the area.
On a photographers mind 