Friday, 16 September 2011
Sometimes you get lucky...
This was one of earliest street photographs I took. I just found it again while reprocessing some old scans (that's one of the other things that happens -- you realise your early attempts at film scanning desperately need improvement).
Anyway, it's a picture I'm very fond of. One of those (very rare) instances when a fully-fledged composition just unfolds in front of you...
At the community centre
More rediscoveries from a few years ago. These men in the picture below are Poles and are waiting for lunch to be served at a Polish community centre -- in fact, the centre you can see in the second photograph.
These were taken some time apart. The one below on a Saturday during a bitterly cold winter's afternoon, not long before the light became too poor to carry on taking pictures. I was attracted by the Katyn memorial and so grabbed a shot as the young man with unmistakeably Slav features emerged. I didn't know then that I would go back there to photograph during one of the centre's events.
These were taken some time apart. The one below on a Saturday during a bitterly cold winter's afternoon, not long before the light became too poor to carry on taking pictures. I was attracted by the Katyn memorial and so grabbed a shot as the young man with unmistakeably Slav features emerged. I didn't know then that I would go back there to photograph during one of the centre's events.
Tuesday, 13 September 2011
Dancing with light
The other day I came across a link to the website of a French darkroom printer -- a woman called Nathalie Lopparelli, and her printing business in the heart of Paris.
What an enviable set-up. The tall atelier windows look out on a courtyard of cobblestones and potted shrubs. But what really counts is what goes on in the darkroom -- and this woman has printed for Salgado, Haas, Stanley Greene, Doisneau and other greats.
Traditional darkroom printing is an arcane skill, but her website has a rather marvellous short film so you can see for yourself. Watch as her hands weave gracefully in the light from the enlarger -- she is burning and dodging to bring up or suppress particular areas of the print, but to me she dancing with light, and it is as choreographed as a secret ballet in the dark.
If you have ever wondered why -- or how -- the black and white photographs of the real masters look as luminous as they do, the answer is that behind them there is someone like this, dancing with light.
What an enviable set-up. The tall atelier windows look out on a courtyard of cobblestones and potted shrubs. But what really counts is what goes on in the darkroom -- and this woman has printed for Salgado, Haas, Stanley Greene, Doisneau and other greats.
Traditional darkroom printing is an arcane skill, but her website has a rather marvellous short film so you can see for yourself. Watch as her hands weave gracefully in the light from the enlarger -- she is burning and dodging to bring up or suppress particular areas of the print, but to me she dancing with light, and it is as choreographed as a secret ballet in the dark.
If you have ever wondered why -- or how -- the black and white photographs of the real masters look as luminous as they do, the answer is that behind them there is someone like this, dancing with light.
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