Tag Archives: Recommendations

Old Town, Stockholm

The other day I went to Old Town here in Stockholm. Already filled with lots of tourists. A great place to be. Many cafés and restaurants. Galleries and shops. I went there to test a favorite lens. A TS 45 mm. I like the way I can handle it. Like how I work with my Sinar view  camera. Though it is so much smaller and comfortable to bring a SLR on a walk. This is how my images looks like. 😊 If you get a chance, visit our Old Town! You don´t have to walk among all the tourist shops. There are small adventures on every narrow side street. Perhaps you, as I did, just can stumble upon a small concert in a church.

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The Met Celebrates Irving Penn, Revolutionary Photographer

They do, and once again I wish I had all the time in the world just going around enjoying exhibitions. Together with Avedon and Albert Watson he is one of my absolute favorite photographers. Over the years I have got so much inspiration from his work. The frozen fruits, cigarette butts, flowers, the backdrops and SO MUCH more. Recently we have been fortunate here in Stockholm to see his work at Åmells. What more could a photographer my age ask for? 😊  Pelle

Top image: A photo shoot for “Mouth (for L’Oréal), New York, 1986.” Credit Irving Penn Foundation, Metropolitan Museum of Art

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An animated portrait of the movie star Marlene Dietrich, shot in 1948. Credit Irving Penn Foundation, Metropolitan Museum of Art

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“Rochas Mermaid Dress (Lisa Fonssagrives-Penn), Paris, 1950.” Penn married the model that year. Credit Irving Penn, Condé Nast and Metropolitan Museum of Art

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Penn’s use of sharp, angled corners in his sets fit the narrow frame of his subject in the portrait “Marcel Duchamp, New York, 1948.” Credit Irving Penn Foundation, Metropolitan Museum of Art

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“Irving Penn: Centennial,” spanning decades of the photographer’s work, opens on Monday at the Metropolitan Museum of Art. Credit Irving Penn Foundation, Metropolitan Museum of Art; Alex Wroblewski for The New York Time

 

The photojournalism of Eddie Adams – in pictures

Once a photographer, always a photographer. You don´t have a career for 50 years if you´re not a photographer by heart. A great title for the book. 😊  Pelle

He was best known for his Pulitzer prize-winning photo, Saigon Execution, but Eddie Adams won over 500 awards for his work, throughout a 50-year career. Starting as a photographer in the marines, he covered war zones, refugees, riots and celebrities. Eddie Adams: Bigger Than The Frame is published by the University of Texas Press.

https://www.theguardian.com/culture/gallery/2017/apr/10/eddie-adam-photojournalism-saigon-execution-pictures#img-7

From The Guardian.

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Servicemen lift President John F Kennedy’s casket off a caisson in front of the Capitol, 24 November 1963.

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Marine Corps recruit depot, Parris Island, South Carolina, 1970.

A Fine Selection

Believe me, without images to catch your interest…

https://www.washingtonpost.com/world/here-are-22-of-the-weeks-best-photos/2017/03/31/494d66ba-118f-11e7-9b0d-d27c98455440_gallery.html?hpid=hp_no-name_photo-story-d%3Ahomepage%2Fstory&utm_term=.0fadab8ca845

😊  Pelle

Magnum photographers’ historic shots of New York – in pictures

Magnum has always been, and is always great photography by great photographers.     Oh, there are SO MANY exhibitions I would like to see…

I found this in The Guardian.

😊  Pelle

As part of its 70th anniversary program, Magnum Photos is holding an exhibition of photographs taken in New York City during the early years of the agency, from 1947 to 1960. The show includes classic images from their archive, as well as pictures from their New York office. Early Magnum In & On New York is at the National Arts Club Grand Gallery until 29 April, can be viewed online and prints purchased through Magnum.

Image at the top:
Photographers Elliott Erwitt and Henri Cartier-Bresson, 1959
Photograph: Marc Riboud/Magnum Photos

https://www.theguardian.com/artanddesign/gallery/2017/mar/31/magnum-photos-new-york-city-historic-pictures?CMP=Share_iOSApp_Other

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New York, 1955
Photograph: Elliott Erwitt/Magnum Photos

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Sammy Davis Jr looks out a Manhattan window, 1959
Photograph: Burt Glinn/Magnum

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James Dean in Times Square, 1955
Photograph: Dennis Stock/Magnum Photos

These forgotten shreds of plastic helped a photographer mourn his mom

Simple, beautiful and emotional. There are still great ideas and photographs out there just waiting to be made. 😊  Pelle

© Wes Bell, and the article was found in The Washington Post.

https://www.washingtonpost.com/news/in-sight/wp/2017/03/13/these-forgotten-shreds-of-plastic-helped-a-photographer-mourn-his-mom/

Wes Bell’s series “Snag,” inspired by the death of his mother, takes a beautiful and simple idea and infuses an ordinary scene with great emotional power. There is beauty, loss and poetry in every frame. After 20 years in New York working as an international fashion photographer, Bell returned to his birthplace and to fine-art photography in Alberta, Canada.

In describing this work, Bell said: “Three years ago, I was leaving for the airport after saying goodbye to my mother. She was dying of cancer. On the long drive across the Alberta prairie, I found myself distracted by flapping remnants of plastic bags, caught in barbed-wire fences that lined the ditches. Whipped violently by the wind, they were left shredded and lacerated, but trapped nonetheless in the no man’s land of boundary fences, neither here nor there. Thinking about mortality, pain and death in the context of my mother’s terminal illness, these forgotten shreds of plastic took on a deeper significance — Snag.”

Loss and remembrance are universal, and Bell makes feeling those emotions accessible and visible.

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A Photograph Never Stands Alone

Interesting read from NY Times written by Teju Cole. Teju Cole is the magazine’s photography critic and the author, most recently, of the essay collection “Known and Strange Things.” Read more in the full article!

Images make us think of other images. Photographs remind us of other photographs, and perhaps only the earliest photographs had a chance to evade this fate. But soon after the invention of photography, the world was full of photographs, and newly made photographs could not avoid semantic contamination. Each photograph came to seem like a quotation from the great archive of photographs. Even the earliest photographs are themselves now burdened by this reality, because when we look at them, we do so in the knowledge of everything that came after. All images, regardless of the date of their creation, exist simultaneously and are pressed into service to help us make sense of other images. This suggests a possible approach to photography criticism: a river of interconnected images wordlessly but fluently commenting on one another.

A photograph can’t help taming what it shows. We are accustomed to speaking about photographs as though they were identical to their subject matter. But photographs are also pictures — organized forms on a two-dimensional surface — and they are part of the history of pictures. A picture of something terrible will always be caught between two worlds: the world of “something terrible,” which might shock us or move us to a moral response, and the world of “a picture,” which generates an aesthetic response. The dazzle of art and the bitterness of life are yoked to each other. There is no escape.