On the 25th of February, we went to Malolos, the capital of Bulacan, to see a ladyboy parade; but it never appeared. Ladyboy levels of disorganisation are, of course, legendary, in addition to which, they were probably working on Filipino time, which makes ‘manana’ sound urgent. Still, a couple of nice cold Red Horses and some good pictures. Continue reading Malolos: Street photography and ladyboys
Arbroath January 1972 . I was living in the house at 9 East Grimsby. My Dad had died the previous year and I was still struggling with it. But I had a few things going for me: music, a camera and my books. It wasn’t a lot but it helped.
Russ Black, the art teacher at school encouraged me to use its darkroom. I had lost my own a couple of years before when we moved house. This is one of the earliest rolls I still have from then.
The camera was a Leica Model III fitted with a Ross Xtralux 50mm f2, an excellent lens. I used the name ‘Xtralux’ for a band some years later, in Exeter. Film was Ilford FP3. Continue reading Arbroath January 1972
Strömholm ‘s Transsexuals: Les Amies de Place Blanche
Christer Strömholm (1918-2002) was ‘the father of Swedish photography’. A talented and influential photojournalist, he favoured direct contact with his subjects. He never ‘stole’ candid pictures and instead always had a relationship of some kind with the person or people he was photographing.
For over a decade, beginning in 1958, Strömholm documented the lives of a group of transsexual women (male-to-female) living in an area of Paris called the Place Blanche. His body of work is remarkable. In 2011 Aman Iman Publishing in Paris republished it as as Les Amies de Place Blanche. The price is a very reasonable 45 Euros. Continue reading Strömholm’s Beautiful Transsexuals
The unique mechanism by which photography distinguishes itself from every other visual art is something I call reflex-reflection.
Photography, although shunned by the establishment in its infancy, became the quintessential, defining art of the twentieth century.
This was not simply because photography’s roots were in the five decades immediately preceding the year 1900, nor that it blossomed, came to maturity and ultimately transformed with the ageing of the century itself. Continue reading Reflex-Reflection: Photography’s Genius
I grew up in a world where photography, especially monochrome photography, was synonymous with ‘truth’. That was never strictly accurate, of course, and as a photographer I knew the extent to which the truth can be manipulated. Nevertheless, as evidenced by the incredible work we saw every day in the newspapers of the 60s, which I consumed with passion while still at school, a photograph was regarded as an equivalent to reality; it was not just a representation of truth, but an affirmation of it.
“Look,’ it said, ‘This is a true thing; I stand witness to that.’ Even today, when PhotoShop has put tricks of the trade that I spent years learning at the click of an amateur’s mouse, photographs brook no argument. The leaves really were that green, the sunset that orange, the woman so perfect. Yet perfect beauty was never in the sorcery of the darkroom or the airbrush artist’s hand, nor is it in the magic of digital manipulation; real beauty is actually real. It needs no PhotoShopping or dastardly manipulation, only to be seen and known, and recorded.
The other part of my life, however, is very different from the ascetic artist whose delight is in the expression of pure form or idea. As a musician, I am by definition an entertainer. And my professional photographic career has been mainly in Photojournalism. Indeed, long before I immersed myself in Weston and Brandt I was mainlining Cartier-Bresson and Don McCullin. Continue reading The Naked Truth