Has the Düsseldorf School killed photography?

October 17th, 2011

I am indebted to Grant Scott at the UK’s Professional Photographer magazine.

In the 18th January edition this year – which I’ve only just seen – he writes a heartfelt opinion piece entitled Has The Düsseldorf School killed photography? As anyone who knows me will have heard me say, no doubt ad nauseam, I find the whole Düsseldorf imitation business frustrating and depressing. I encourage you to read Scott’s piece in its entirety, but here’s the summation:

I am personally fed up with seeing portraits of people without emotion of any kind: portraits of people staring dead-eyed into a photographer’s lens, or avoiding the camera altogether. I am fed up with seeing images of American highways, petrol stations and diners. I am fed up with seeing images of blighted industrial and urban scenes in muted tones. I am fed up with seeing deliberately amateur snapshots documenting ‘everyday’ life. I am fed up with seeing nightmarish visions of our present and future. But most of all I am fed up reading the explanations of why these images are important. Why am I fed up? Because I want to see and enjoy all forms of photography. I want to see true personal expression, not a personal expression wearing the shackles of an aesthetic. I don’t want the world of photography to become alienating and difficult. Photography is not only about challenging perception, it should also explain, provoke myriad emotions and embrace all aesthetics. Commissioned work is just as important and serious as personal projects or exploration.

Couldn’t agree more!

Steve Jobs

October 6th, 2011

MS-DOS 3.2

MS-DOS 3.2

In the mid 80s I joined a company called Vickers Shipbuilding as a draughtsman – my first proper job after art school. To be honest my colleagues soon realised I was a round peg in a square hole, so I ended up getting involved in all the slightly new and weird things in the office that no-one else could be bothered with.

One of these was a brand new computer, complete with a hard disk (20mb – pretty cutting edge at the time), a green screen with a flickering thing in the top left hand corner and, of course, MS-DOS 3.2. I’d been fooling about with little computers at home, which ran various versions of BASIC and whose only data storage facility was a cassette tape, so this was a great advance for me.

Then, a few months later, someone further down the office got a new computer too. It was a small cream coloured box with a very small black and white (white, mark you) screen enclosed in the same case, and this thing on the end of a wire – which seemed to be essential for it’s operation – called a mouse. It was an Apple Macintosh. Most people laughed at it, and shook their heads at yet another indication of the foolishness of the Vickers procurement department, who couldn’t even buy a proper computer.

Apple Macintosh

Apple Macintosh


Eventually the new machine’s owner let me play around with it. It was astounding. It said “hello” when you switched it on. You did everything inside little boxes called windows, which you could drag about by clicking and moving the mouse. You could actually see all the applications you could use, and you launched them by, once again, clicking the mouse. To delete things you actually grabbed hold of them with the mouse and dragged them into a little dustbin.

(Interestingly this dustbin was called “Wastebasket”, since the Mac had been told it was in England and not the US, where the same dustbin was called “Trash”. An early example of Apple’s sensitivity to it’s international markets.)

And you could use this mouse to draw with. You could make shapes and shade them and move them around. But the most fabulous thing was, from a former design student’s point of view, that you could actually recognise the typefaces on the screen. I could choose Times Roman, or Helvetica, or Univers – names that were soon to become familiar to everyone as fonts, but which up to that point had been known only to people involved in print.

It was the first modern computer.

A few years later I’d had enough of the defence industry and wanted to go back to design. I bought my own Macintosh – a Mac IIcx, since you’re interested, and a LaserWriter printer. I had to re-mortgage my flat to raise the £10,000 (yes, that’s ten thousand pounds) it cost me. And that was when £10,000 was a lot of money. And it was only that cheap because I bought it from a dodgy “grey importer” – if I’d gone to an AppleCenter it would have cost £16,000.

Macintosh IIcx

Macintosh IIcx


I have often speculated how things would have turned out if, instead of buying the IIcx, I’d bought £10,000 of Apple stock in 1990. I have a feeling I would by now be living on my yacht. I try not to think about this too much.

So I’ve been living with Apple products for over 25 years. I had no idea they’d turn out to be computers in my pocket, with which I could call the world or look-up any piece of information I could imagine.

And the driving force behind all that, the man whose will and personality made it happen, died last night.

I’m not so surprised by the sneering nature of so many of the media comments this morning. There seems to be a belief that Steve Job’s business, his success, was all just smoke and mirrors. That he was just Bill Gates with hyperbole. That Apple is just Microsoft, but cooler.

I’m not surprised, but I’m disappointed. Jobs was far from a saint, but he was an extraordinary, creative, intuitive individual, who has changed my life for the better. There was simply no-one in the technology world who led him, but there are so many followers.


There’s a story that always sticks in my mind about Jobs. In an interview he gave during his years of exile from Apple (when he was busy adding his wit and will to the film industry, resulting in Toy Story). Somehow the interview got onto the subject of washing machines, and he described how he and his wife had just bought a new machine for their home in California.

He talked about how they’d looked at everything on the market, from the huge American machines that could do everything, to small European models that took a smaller load but used a lot less energy. He laid out the arguments for and against each alternative. He knew all the details.

At this point Jobs was a very rich man. He could buy all the washing machines he could want, and use as much energy as he liked, but he’d studied the subject. How many billionaires would do that?

Goodwood Revival 2011

September 22nd, 2011

For years I’ve had an abiding love of old cars, and especially old racing cars. I no longer own a car (just an old motor bike) but since I’ve been back in England I’ve taken the opportunity to attend the Goodwood Revival Meeting in Sussex with friends.

Lotus Climax 24, Glover Trophy, Goodwood Revival Meeting 2011

Lotus Climax 24, Glover Trophy, Goodwood Revival Meeting 2011

The Goodwood Motor Circuit was one of the most important tracks in the world in the 1950s and 60s before safety and noise considerations closed it down. In 1998 Earl March, who owns the circuit, arranged to re-open it on one weekend a year for a special event.

Great effort was taken to make sure the circuit looked as much as possible like it did in the 60s, the best historic racing cars in the world were invited, and everyone – spectators included – was expected to turn up in period clothing. It was a roaring success.

Jaguar D Type, Sussex Trophy, Goodwood Revival Meeting 2011

Jaguar D Type, Sussex Trophy, Goodwood Revival Meeting 2011

Since then the Revival has become a key part of international motor racing’s social scene, with many very successful drivers signing up to have fun driving the very same cars their heros drove fifty years ago.

The event is now also riding the wave of vintage fashion and music which so many people enjoy. It’s a really great weekend.

Cobras and admirers, Goodwood Revival Meeting 2011

Cobras and admirers, Goodwood Revival Meeting 2011

Click here to see more pictures

Fashion

September 2nd, 2011

So, while looking around for an industry that actually pays for photography, my eye fell on the fashion business. Having spent the last few years banging my head against the brick wall of documentary/journalism it’s refreshing to find so many thriving outlets for pictures, but also bewildering to realise the differences – most of them not obvious.

The two worlds tend to have a somewhat sneering attitude toward each other. The photojournalism camp regards anyone involved in something as frivolous as fashion as… well… shallow and vacuous. The fashion folks, on the other hand, tend to think of the documentarians as sanctimonious, narrow-minded snobs. Probably badly dressed and in need of a bit of grooming.

In truth, of course, there’s a lot less between them then those who seek simplistic stereotypes would like to think – especially when it comes to photography. I’m enjoying the exploration of this new landscape.

Luiza

August 19th, 2011

Luiza dropped by the studio the other day for a quick shoot. Quite pleased with this one:

Luiza

Luiza

John Gay

July 23rd, 2011

Just come across the work of John Gay, a German photographer who fled the Nazis in 1933 and lived in England most of his life.

A group of black-faced sheep in show coats at the Royal Show, Bristol. July 1958. © John Gay

A group of black-faced sheep in show coats at the Royal Show, Bristol. July 1958. © John Gay

When he died in 1999 he left behind 40,000 negatives. He clearly loved taking pictures of Britain, or what my German wife likes to call the “funny little island”.

He was a true craftsman.

The Constant Eye, Vol.2: Theresienstadt

July 20th, 2011
The Constant Eye, Vol.2: Theresienstadt

The Constant Eye, Vol.2: Theresienstadt

The second volume of The Constant Eye is now available from Blurb. You can preview the book and buy it here.

I visited the Czech town of Terezín in November 2003 without really knowing what to expect. I found an old Hapsburg fortified town that had been used by the Nazis as a transit camp for Jewish families from all over Europe, where intense overcrowding, malnourishment, disease and brutality had claimed tens of thousands of lives. Attached to the main town is a smaller fortress used as a Gestapo prison where thousands were tortured to death.

The visit made a profound impact on me, and began my Prisons of Conscience project.

Please have a look at the book, but for another way to see the pictures you can watch the slideshow movie below, or you can visit the gallery here.

Vivian Maier

July 8th, 2011

There’s some great work on show as part of the London Street Photography Festival these days. I attended the opening of the much heralded Vivian Maier: A Life Uncovered at the Gymnasium in Kings Cross with an open mind – was she really as good as everyone says?

(If you don’t know the Vivian Maier story then this is a pretty good place to start.)

"Late 1956" Courtesy vivianmaier.com (© Vivian Maier)

"Late 1956" Courtesy vivianmaier.com (© Vivian Maier)

Well, after all the hype, it was my turn to be impressed. There is a wonderful spread of work on show in this exhibition, including some of her 8mm movies, but it’s the square Rollei work that is the most impressive. This was a woman who really knew what she was doing – the technical prowess is superb. Street photography at its best.

"Untitled, Unknown" Courtesy vivianmaier.com (© Vivian Maier)

"Untitled, Unknown" Courtesy vivianmaier.com (© Vivian Maier)

An extra delight on seeing the show is the breadth of her repertoire. She didn’t just take observational street pictures but also fascinating portraits. I highly recommend a visit. The show closes on 24 July.

"Untitled, 1956" Courtesy vivianmaier.com (© Vivian Maier)

"Untitled, 1956" Courtesy vivianmaier.com (© Vivian Maier)

Anders Petersen video interview

June 29th, 2011

The Photographers’ Gallery have posted an interview with Anders talking about his current project in Soho, and about his work in general.

I’m becoming more and more interested and impressed by this guy.

Anders Petersen

June 22nd, 2011

The London photo scene had another pleasant surprise in store for me last night, in the form of the great Swedish photographer of the demi-monde Anders Petersen. The Photographers’ Gallery used the occasion of his residency in Soho to have him give a talk about his photographic life at the Bloomberg SPACEBloomberg are the sponsors of the residency.

Saint Etienne 2005 (© Anders Petersen)

'Two very kind men who live together with a dog' Saint Etienne 2005 (© Anders Petersen)

I was almost completely unfamiliar with his work before yesterday, but what he showed us – in less than perfect conditions – not only left me wanting to know more but jarred me into life. This is a man who can truly engage with people, indeed for whom people are the very fabric of his work.

Paris 2006 (© Anders Petersen)

'Two twin sisters. They wanted to know 'Who are you?'' Paris 2006 (© Anders Petersen)

Anders was extremely frank about his technique, his method of working (“I meet someone in a bar, we have a drink, one thing leads to another…”). It was a privilege to hear him.

My quote of the night: “It’s not about bad or good pictures, it’s about believable pictures. Some of the greatest pictures have been bad pictures.”