Conversations

I have just finished reading the interview with Josef Koudelka. The only Czech person to document the soviet invasion of Czechoslovakia and Prague in particular. A defining moment in his life and career. A fitting point to introduce to you Apertures volume on their collection of published conversations.

Like many of you I am familiar with Josef Koudelka's images of this period but do not know much, if anything, about the man behind the lens. Of the sixty nine names that appear on the cover very few of them jump off the page as people I have read about and know well. There are some who I have heard of from others but a greater portion I have no knowledge of at all.

I read a very small review of this book in black and white photography mag that peaked my interest and the fact that it was a collection of interviews - a format that I have enjoyed reading in the past and prefer to televised versions. To be able to kick back with a cup of tea in a free moment and allow what is being discussed fully occupy your attention is a great way to understand fully what is going on.

There are no images in this book to distract you from what is being said. A bold move by Aperture. I sometimes feel that when I'm reading articles that are interspersed with pictures that they tend to take a back seat to the point of not being noticed. I know this is true in my case as I can revisit books and magazines and have no recollection of the accompanying images it is as though I am coming to them again for the first time.

I have discovered I do not like pre views of anything. I like to have an open mind on what is about to pass in front of my eyes and lodge in my brain - a bit like life it's self! Likewise, this book has introduced me to a lot of things and opinions I had not considered. I have no doubt that at some point in my photograph making some of the things I have read will show themselves in my images.

I am methodical in the way I read -I start at the front and work through. I am about two thirds through this five hundred odd page book which gives you some idea of it's size - not an easy book to stuff in your pocket to read on the train, bus or plane.

The conversations vary in length, some more fascinating than others, all based on visual expression. I am enjoying the odd moments of time I have spent with this book this year. I will go as far as to say if you are a photographer you should have a copy of this on your shelf and if a person from Aperture reads this you should do an companioning volume on all the images that went with the interviews.

Cartier Bresson collected interviews

 This is a wonderful pocket size book that you can dip into anytime. The page colour is not the standard bright white but a gentle off white which is quite resting for the eyes while you read it.

It is laid out in interview/ conversation style, each chapter is a discussion with questions in bold type and answers. Making it easy to put down and pick up without loosing the thread. I have read this book three times in a row it is that interesting.

 

This is the first time since the interviews were first published that they have been translated from French and put into one book. The book covers twelve interviews from 1951 – 1998. He talks about his passion for books and art about being a prisoner of war, travelling to the far east and setting up Magnum.

I have really enjoyed reading the interviews I was not sure of the format before hand but have discovered you take in far more and analyse what has been said far better than if I had listened.

Published by Aperture.

Kiroku by Dadio Moriyama.

I was flicking through some book reviews, when I came across one about Daido Moriyama's new book 'Record' known as Kiroku in Japanese. It is the collection of the first 30 issues of his personal magazine dating back to 1970s. Basically it chronicles his image making and some thoughts over the time period.

After reading the revue I had an irresistible feeling that I should obtain a copy. Although I am interested in Japanese photography I cannot say I know anything about Moriyama's work apart from he is a street photographer, which has a strong appeal.

 With a copy of Record in my hand and weight being the measure of quality, this is in the five star category. When you slide the book out of it's slip case you are presented with black edged pages and flush black edge hard cover something I have not seen before. This in itself brings a drama to what is to follow. 

When you open the book you are presented with silky smooth gloss white pages that keeps you in suspense as Mark Holborn introduces you to Daido Moriyama and sets the stage for the images to come. 

Wow! And what a shock they are! pulling no punches in their very high contrast look making full use of the term black and white. It takes time for your eyes to adjust to the rich black, making it difficult to see what the images are about. This is partly because these images are made on film at night without the use of flash making them very grainy. This graininess has been translated to the gloss pages by the printing technique making the pages gritty to the touch and adding a textural impact to the pictures.

He does not just use monochrome film there are some magazines in colour where he plays with the vibrancy of the colour. 

For a book that I decided to obtain on a whim, I have been very impressed by the images within. Yes the blackness, odd angles and graininess of the images are an assault on your sensibility's but that is what makes his work different.

It is a book to be enjoyed at leisure over many days and not all at once.

FADU 2014

The year book is out.

Hopefully this is the start of a new era of year books from the film anddarkroom users forum (FADU). Earlier in the year Ian a member of FADU expressed his desire to have the year book started again and enquired if any of the other members would be interested in taking part. To his surprise there was a ground swell of enthusiasm for it to be reinstated. A boost to its reincarnation was Les Mclean's offer to curate and edit the book on behalf of the members.

This is the first book since Dave Miller the forums owner bowed out of producing the book back in 2012. There have been a number of calls by different members to get it going again but were not able to find anyone who had the time to get it off the ground. One of the main differences is that a number of members have gotten together to form a group to over see the submission process for the year book.

What makes this year book different from others, and the forum for that matter, is it's strict adherence to all pictures being scanned from photographs. Likewise for a picture to be included in the book, each associate was allowed to submit up to four photographs no larger than 8 x 10 in size. To be mailed to the submissions member no later than the end of October. They were then sent on altogether to Les Mclean for editing.

Another good thing about the submission process for the book was any member no matter what his or her level of experience, was invited to take part. I have to add that FADU is a very friendly welcoming forum who's members are always very willing to share their knowledge no matter who or where you are in your analogue journey.

So to the 2014 edition of the year book, i have to say there is a wonderful selection of photographs reproduced in the book. In the end, nineteen FADU supporters provided work for inclusion in the book. Not as diverse as previous years editions but a good number to start things going again. Of the seventy six photograph’s entered forty have been chosen. Representing all genre of photography.

Thanks goes to all the members who helped to make it a reality and a special thanks to Les McLean for taking on the editorial role. I think his involvement gave the project the impetus it needed to make it a reality. 

Capturing the light, a book about the beginning of photograph as we know it.

This is an excellent read if you are interested in the birth of photography. Written by Roger Watson and Helen Rappaport. It takes you back in time to the years after the French revolution where a flamboyant Louis Daguerre is making his name as a scenery painter and showman. While in the English countryside a young shy gentleman amateur scientist by the name of Henry Fox Talbot plays with the idea of being able to fix a scene on paper using chemicals among other things.

The book is written like an historical thriller as the two gentlemen race to discover the holy grail of chemicals that will allow the light drawings to be  developed and fixed so that all can enjoy their own images, but who gets there first and crowned the inventor of photography?

For me this was a page turner even though I have studied both men in some detail at collage. While I was reading this book I felt that I was being introduced to both men for the first time. This was nothing like the dry text books from my collage days; it is easy to read although in the beginning it has a bit of a quirky writing style but once you get the hang of it the book flies by so don't be put off, otherwise you will miss out!

William Egglestone guide.

A while back I was looking at the photography section of the Foyles web site. When I came across a new copy of William Eggleston guide. I had to check to make sure that I was not wearing trick glasses. As far as I was concerned it could only be obtained second hand. So I did the right thing and purchased a copy and waited to see what came through the post.

It was reprinted in 2011 and first published in 1976 by the museum of modern art New York. It had been produced in conjunction with the début  exhibition of William Eggleston. The critics slammed the exhibition as boring and banal, by doing this they had completely miss read Eggleston's pictures.  Yes it was jejune and mundane, all in wonderful bright colour but that was the whole point. The common place in society was no longer the preserve of black and white. It was suddenly hip to make this type of picture using colour film.

The quirky nature of Eggleston's pictures is what appeals to me, the sense that there is more going on outside the frame makes me linger just that bit longer in case all is revealed! I know it is the 'picture of a moment in time' that appealed to Eggleston's eye; and  his view of the world, the way he puts it across that intrigues me.

I like his attitude - see the picture, take it and move on. He is not one to exhaust the view from every angle and at three different settings types. He knows his own mind and is prepared to take a risk, if it does not work he has not then wasted a whole film. In this respect I'm with Eggleston. 

The book is an unusual size being 9 ½ inches square (240 mm). A modern take I feel. I'm not sure that the first edition was this size. The cover has a simulated leather embossed feel to it with the picture inset. The pictures appear on one side of a double page spread. William Eggleston does not go in for giving his pictures titles but reveals the place where it was taken. Could a place name be a kind of title? The pictures do not always stand central on each page giving the book a rhythm of it's own.

I'm pleased this book is part of my collection after all these years.