Tag: Review (page 1 of 2)

Wolf Suschitzky – Seven Decades of Photography

Some books grow on you. This is one of them.

I don’t recall where or how I first came across Wolf Suschitzky but I do like those photographers who have documented life in the UK over the decades and Suschitzky is one such with a career stretching from the 1930’s into the 21st century. This book, Seven Decades of Photography, published in 2014 when Suschitzky was already 102 years old collects a selection of images from his long career.

Quite apart from his photography the man himself is fascinating. He was born in Vienna in 1912 to a Jewish atheist father who ran a bookshop and later a socialist publishing house. Originally wanting to study zoology Suschitzky ended up studying photography influenced by his sister Edith, herself a photographer. Observing political developments in Austria in the 1930’s he concluded that Vienna was not a good place for a Jewish socialist and moved to London.

Shortly after arriving he landed a job as a cinematographer working on documentaries before moving into feature films. Cinematography paid the bills and enabled him to continue with his photography on his own terms. Throughout the book there are portrait shots of some of the actors he worked with as well as animal shots and portraits reflecting his interest in zoology.

The first time I browsed this book I liked many of the images but there were few that really stood out. It was a pleasant browse but not much more. When I pulled the book off the shelf for the first time in almost two years my appreciation of his work was transformed. Now I see many great images and some that are truly outstanding. Perhaps it is just me responding differently after two more years of looking at and thinking about photography but I think it is also about the photographs. They demand and deserve a lingering look to fully appreciate them and I don’t think I paid enough attention previously.

What stands out now is Suschitzky’s wonderful use light and strong structural elements, something that was perhaps influenced by his work as a cinematographer. Yet he was happier to be known as a craftsman than an artist and an observer rather than a creator.

Suschitzky died in 2016 at the age of 104 and the book is an excellent testament to his work. It was originally published by SYNEMA – Gesellschaft für Film und Medien in Austria and unfortunately like so many photobooks is now out of print and expensive.

LINKS

A short film on Suschitzky from FOTOHOF Gallery in Vienna released as part of their exhibition of Suschitzky’s work ‘No Resting Place’. You can also take a virtual tour of the exhibition.

Fujinon XF 55–200

I think of it as my panda lens. Out of the 171 images I shot with this lens while I owned it no fewer than 72 of them are of pandas, specifically Tian Tian, Mei Xiang and Bao Bao at the National Zoo in Washington DC.

To some photographers 171 images many not sound like a lot and since I had the lens for a couple of years that’s a reasonable conclusion but I’m not really a telephoto user. That said it’s nice to have a little bit of extra reach from time to time when the occasion calls for it, an occasion for example like a visit to Washington DC to see the pandas.

So I’m never going to be in the market for one of those fast 70–200 drainpipes but I’ve always ended up whatever the system with one of the cheap(ish) 55–200 type lenses. I had the Sony A and E mount versions when I was a Sony user and it seemed an obvious choice when I switched to Fujifilm.

Like most Fuji lenses this one is a cut above what’s on offer from most of the other camera and lens manufacturers. The quality of construction is much better (something confirmed by the people at Lens Rentals recently when they took one apart). It feels much more solid and substantial than the lightweight and somewhat creaky competitors. It’s also a little bit faster than the opposition — f3.5–4.8 compared to the usual f4–5.6. It’s not a lot but at the longer focal lengths every little helps. It also helps that this lens comes with Fuji’s OIS system.

Image quality is excellent, vastly better than either of the Sony’s I’ve owned and on the basis of what I’ve read and heard better than anything else out there in this sector. Previous lenses I’ve used were generally fine until around 160–170mm when the image quality took a real hit. They were also noticeably weaker wide open. By contrast the Fuji is good all the way to 200mm and at all apertures. The only weakness I’ve found is at 200mm wide open in the corners where it’s not great, but it’s the corners so it’s usually no big deal.

Also gratifying is the degree of resistance while zooming. Sometimes it almost seems like it’s a little too much but this for me is preferable to too little resistance. The one dislike I have with this lens is that unlike the zoom ring the aperture ring is far too easily rotated and I do find myself shooting at entirely unexpected apertures because the lens gently brushed my shirt and shifted from f4 to f16. Perhaps it’s just my copy but it is noticeably looser than the aperture rings on my other Fuji lenses.

All of this goodness does come at a price. The Fuji lens is more expensive that the typical 55–200 lenses which tend to come in at around $350 at most and are often much less. The Fuji’s recommended retail price is $700 — not exactly a bargain — but it usually goes for $500 during Fuji’s regular sales. For an occasional user like me $500 is an acceptable price given that this is in every respect a better lens than anything from the competition.

If you are a regular telephoto shooter or need the extra speed you will undoubtedly prefer the XF50–140 f2.8, but for the occasional user this lens is definitely worth getting hold of, particularly if you wait for the price drop.

A lens review without pictures is a bit pointless so here are a few images from my very small collection taken with this lens including of course some pandas.

These first two shots were taken at Manila American Cemetery, the first at 110mm and f8 and the second at 55mm and also f8.

The next two shots are looking across the Pasig River from the Makati side towards the Pasig side. Both were shot at 200mm and f5.6. The third image is a crop from the top left of the second shot showing how well the lens performs at this focal length.

This next one of a rapidly moving boat was taken from the back of somewhat slower moving boat. I was impressed with both the sharpness and the ability of my X-E2’s rather rudimentary focus tracking together with the lens’s less than state-of-the-art autofocus capabilities to keep up. This one was taken at 55mm and f8.

Now for the zoo. First up is Mei Xiang relaxing in her yard. Considering that this was shot at 200mm wide open I was impressed by the detail and sharpness in her fur and whiskers.

Next, it’s Tian Tian relaxing in his yard — pandas do a lot of relaxing. I thought this was a great pose, propped up on one elbow leaning on a tree trunk. Again this is at 200mm and wide open and again there is decent sharpness and detail throughout even down to the fly that has landed on his back.

Finally just to prove that pandas aren’t the only inhabitants of the zoo here is one of the male lions relaxing while keeping an eye out and one of the tigers having fun in the pool. Both were shot at 200mm wide open and both also cropped a little because you can’t get that close.

So a good lens which is well worth the higher cost for the superior mechanical and optical quality and the extra half stop. In the end I sold this lens because I didn’t feel I was putting it to use enough but I still do keep an eye out from time to time for Fujifilm sales or used deals. I suspect I may own it again at some point.

Niall McDiarmid – Town to Town

I don’t read or watch the news any more. Somewhere along the way the news media lost their integrity and reduced the world to an endless cycle of win-lose conflicts between extremists. When I was a kid newspapers printed one edition a day and there were four news bulletins – morning, lunchtime, early evening and late evening. Time and space were limited, valuable, so editors had to think carefully about which stories to cover. Journalists had to make phone calls, talk to people, write up stories – they had to do journalism.

Now? With 24/7 news channels and newspapers reduced to mere websites with near endless pages, discernment or editorial judgement is no longer required. News organisations could use all that available time and space to dig deeper, to widen their outlook on the world, but that would take time and money. Easier to fill the space with celebrity gossip and the latest Twitter spat. That brings in the numbers and numbers bring in advertising and advertising bring in money which ultimately is what it is all about.

The news media inhabit an alternative reality where the 2 percent of Twittering fanatics are representative of the nation, where every social or political issue is reducible to either / or or them / us. And if at times it seems like our societies have taken leave of their senses then the news media is culpable of driving that process.

All of which is a rather long introduction to a photobook review. The connection being that photobooks can tell us a lot more about our societies and their people and can portray the irreducible complexity of society in a way that the news media are no longer able or willing to do.

In the UK context which I’m most familiar with I think of Mahtab Hussain whose photography project, You Get Me?, documenting the lives of young British Muslim men was published a couple of years ago. Hussain described the series as ‘an intimate portrait on negotiating masculinity, self-esteem, social identity, and religion in a multicultural society faced with high unemployment, discrimination in the workplace, and racism’. At the same time he noted that his subjects ‘identify with Britain and they have a strong sense of Britishness’. (In fact research published in 2014 showed that British citizens of Pakistani origin have a stronger sense of British identity than any other group.)

I also think of the recently published work by Chris Steele-Perkins, The New Londoners, which I am patiently waiting on arriving. Steele-Perkins photographed 165 families in London who between them represent more that 200 countries, emphasising again the wonderful complexity of society that defies the reductionist and divisive vision of the news media.

And then there is Niall McDiarmid. Town to Town collects some of the pictures McDiarmid took as part of a project to create a portrait of contemporary Britain. McDiarmid, Scottish but based in London, started out in his adopted city but then started travelling across Britain: ‘I’d search for cheap tickets available online and catch a train out of London early every Saturday. Then, because it’s expensive to stay away, I’d come back on a really late night train crawling into London after a day somewhere up North’. He ended up visiting over 200 towns wandering the streets and approaching random people who caught his eye.

McDiarmid wanted his street portraits to have a distinctive style and he defines that style as focusing on colour, shape and pattern. His use of colour is particularly striking. Not just in the bright, vivid colours of many of his diverse subjects but also in the way McDiarmid photographs them against backgrounds that echo these. This is real Britain beyond the warped world of the news media, and the 120 pages of this book will show you more about Britain than the endless pages of dross that fill the news websites.

The book itself is published by RBB Photobooks and the quality of the binding, the paper and the reproductions is excellent. There are no introductory essays, no attempts to shape or steer the viewer’s encounter with the image. There isn’t even a blurb about the photographer. It’s all about the images. Originally published in 2018 it’s starting to get a little harder to find now and no doubt will be out of stock everywhere very soon.

LINKS

There is also a video of McDiarmid in conversation with fellow photographer Daniel Meadows during preparations for the opening of the ‘Town to Town’ exhibition. (For some reason the YouTube video will not embed but the link will take you there.)

The Minolta 24mm…

…or to give it its full designation the Minolta MD W.Rokkor-X 24mm 1:2.8.

This is an SR mount lens. The SR mount was introduced with Minolta’s first SLR, the SR-2, in 1958. (Strangely there was an SR-1 but it was released after the SR-2). All manual focus Minolta SLRs used the SR mount but when Minolta switched to autofocus cameras the company developed a new mount. This mount known as the Alpha mount is still in use on Sony’s DSLRs. The MD designation identifies this as a lens specifically designed to work with the Minolta XD camera introduced in 1977.

The XD offered both aperture priority and shutter priority semi automatic exposure modes and required the use of MD lenses to make use of the shutter priority option. While earlier generations of SR lenses could be used on the XD in manual or aperture priority mode they would not work properly in shutter speed mode. The ‘W’ indicates that this is a wide angle lens. With a handful of exceptions all Rokkor lenses between 17mm and 35mm had the W.Rokkor designation. Those over 100mm were known as Tele Rokkors, while zooms, obviously enough, were Zoom Rokkors.

I believe Minolta was the first of the major Japanese companies to give their lenses an additional brand identity when they introduced the first ‘Rokkor’ lens in 1940. Others followed suit and gave us Nikkors, Hexanons, Fujinons and the rest. More recently South Korean lens maker Samyang has sold lenses under its Rokinon brand which sounds like an attempt to associate its lenses with the Rokkor name and identity.

Supposedly the name is derived from the Rokko mountain range near Osaka where the company was founded and maintained its headquarters until the merger with Konica. Minolta’s founder Kazuo Tashima was an admirer of German photographic equipment and the company was initially known as Nichi-Doku Shashinki Shoten (Japan-Germany Camera Company). Given this perhaps Tashima was influenced by the practice of German companies like Zeiss and Leica who gave their lenses additional branding — the Zeiss Planar and Tessar or the Leica Elmar for example. The Rokkor branding finally disappeared around 1980. My 50mm f1.7, for example, is simply a Minolta. Despite this, ‘Rokkor’ is still often used as a generic name for all Minolta lenses. The ‘X’ seems to be largely a marketing exercise. There appears to be no difference between Rokkor and Rokkor-X other than the X.

The MD lenses were modified from time to time during the years of production and based on the information provided in Dennis Lohmann’s very detailed database my copy is a late example of the MD series II from around 1980. Like most Minolta lenses of that era it’s well made, solid and mostly of metal construction. Both the focus ring and the aperture ring are smooth and consistent with appropriate resistance. The lens elements appear clean and the aperture blades operate smoothly.

I wasn’t planning to buy this lens. It’s among the more expensive Minolta lenses ($220–250 in good condition from reputable dealers) and I only occasionally go wider than 35mm. Besides, I already had a 24mm lens for my Nikon FM2n if I needed one. However, while making my near daily check of a couple of online dealers recently this lens appeared on one of them for only $149. I assumed at that price it would be in very poor shape but it was listed as ‘Excellent’ and the reason given for the low price was some damage to the front filter ring which you can see in the photograph at the top. Since I don’t use filters a damaged filter ring makes no odds to me so I ended up with a bargain.

The pictures were taken around Washington DC with the XD and 24mm combination on Kodak Ektar. Everything is nice and sharp and the colours look good to me. The only downside is that it is susceptible to flare though I was shooting on a very bright and sunny day. I think I’ll need to pick up a push on lens hood for this one. Overall though, this is a very nice lens and it’s well worth the bargain price.

Martin Parr – The Non-Conformists

Think of Martin Parr and what comes to mind are vibrant and richly saturated colour images. But it was not always so. Early in his career Parr shot in black and white and this book, The Non-Conformists, presents some of that early work. Just out of art school in the mid 1970’s Parr moved to the mill town of Hebden Bridge in Yorkshire and began documenting the everyday lives of the people of the area together with his friend, and later wife, Susie Mitchell.

The area was historically a stronghold of non-conformists, Christians who had rejected the dominant Church of England, and there were Baptist and Methodist chapels in many of the towns and villages. Parr’s father had been a Methodist lay preacher and he was drawn to the chapels, eventually developing a strong relationship with the elderly members of one particular Methodist chapel in the village of Crimsworth Dean. Over the course of what became a five year project Parr photographed everyday life in the chapel and the community and this book brings together those images together with notes and commentary taken by Susie at the time.

While these black and white images seem superficially a world apart from Parr’s later work it only takes a moment of looking to see the continuity. There is the same observation of detail, the same ability to pick the moment, the same quirkiness, the same dry humour, but there is also a gentleness, even melancholy, in these pictures that sets them apart from his later work. Parr covers everything: chapel life, business and commerce, farming, parties and celebrations, recreation, cricket, auctions, grouse shooting, mining. Nothing is too insignificant. And out of each setting and situation he manages to find images that provoke both emotion and reflection.

Like Parr, I grew up in these non-conformist traditions, in my case among the Baptists and the Brethren in Northern Ireland, and many of his images reflect my own memories of visiting my grandfather who was a member of the gospel hall in the small village of Ballyhalbert 25 miles from Belfast. Susie Parr notes in the book that at that time the chapels were in decline, as were many of the towns and villages as traditional industries disappeared or shrank. The same was true in Northern Ireland though perhaps there it took a little longer, and when I return from time to time I’m aware of passing a spot where a gospel hall or mission hall once stood. Some are gone completely, some have fallen into disrepair, some have been converted for other uses, but I do think it is sad that there is little or no record of their existence and of the communities that worshipped there. The chapel at Crimsworth Dean that Parr photographed is also gone, closed in 1997 and converted into a private house a few years later, but thanks to Parr a record remains of the place and the people.

This is undoubtedly one of my favourite photobooks with the superb pictures complemented by Susie Parr’s contemporary notes on the places they visited and photographed. Paper, printing and binding are all high quality and copies are still available either in the US direct from the publishers, Aperture, for $36 or from the usual sources for a similar price. In the UK you can get it for around £27 at Blackwells or for the same price you can have a signed copy from Beyond Words.

Links

On Safari

My left hand doesn’t work as well as it should, which is unfortunate as I’m left handed. It’s a long story involving a metal gate, a torn ligament, hundreds of hours of physiotherapy, more injections than I can recall and two surgeries, which I won’t go into. Suffice it to say that my hand is ‘good enough’ though subject to aches and pains. About a year ago I started working full time after a gap of almost fifteen years (another long story). Since the job involved a lot of writing andtyping, and since I’m old school and prefer to do a lot of actual pen and paper writing, I was concerned about how my hand would hold up.

A chunky pen with a squishy grip might be a good investment I thought. At which point my simple quest turned into an epic exploration of the internet universe of pens. It turns out the Japanese are very good at pens as a result it seems of complex character sets and an emphasis on handwriting and calligraphy. I ended up with a collection of smooth writing, fine-nibbed gel pens from Pentel, Pilot, Uni-ball and Zebra. I added a bunch of Muji pens, because you can never have enough stuff from Muji, and rounded my collection off with a couple of ingenious mechanical pencils.

I never even considered fountain pens, having bad childhood memories of scratchy, leaky pens and assuming as a lefty that they were were a recipe for smudgy pages and ink stained hands. It turned out that one of my new colleagues was a fountain pen user and out of curiosity I asked if I could try his pen. I wrote some random words. The nib glided smoothly over the paper, the ink flowed evenly to the nib and there was not a smudge to be seen. The real revelation was the ease of writing. I thought my gel pens were great writers requiring very little pressure and needing only a light grip, important when trying to take the strain off the hand when writing for extended periods, but this fountain pen was in another league. And so I plunged back into the pen universe and headed straight for the black hole of fountain pens.

Initially overwhelmed, I eventually ordered a cheery yellow Lamy Safari. Since then I’ve ordered two more, one in ‘blue macaron’ and the most recent in ‘violet’. Lamy introduced the Safari in 1980 and the striking design caused quite a stir. The pen was oringally aimed at 10 to 15 year old schoolkids and the designer Wolfgang Fabian worked with psychologists to develop the pen, a process that took five years. The ‘Safari’ name and the initial colours of ‘savannah green’ and ‘terracotta red’ were also shaped by the psychologists’ suggestion that children were interested in travel and faraway places.

The general idea was that if Lamy could get kids using the Safari then those kids might stick with the brand as adults. In the event the strategy, despite – or possibly because of – the psychological advice, was a failure. The kids weren’t impressed but it turned out that some adults were. So Lamy asked Fabian to come up with some new colour schemes that would appeal to a more mature audience.

Fabian said that his approach to designing the Safari was driven by his own childhood experience of awkward grips and inky fingers. As a young designer with no presuppositions about how a fountain pen should look he was free to take a different approach to achieve his goal – a fountain pen that would sit comfortably in the hand. That approach resulted in the most distinctive feature of the pen, the three sided, recessed grip designed to teach young people the ‘correct’ way to hold a pen.

Fabian’s work has stood the test of time with the Safari still in production after 40 years and now one of the world’s best selling pens, popular with kids and adults, casual users and collectors. Fabian modestly rejects the idea that the Safari’s longevity is down to his design, noting that the pen has received plenty of criticism alongside the praise. Instead he attributes it to Lamy’s willingness to persevere with the pen in the early years when it was a lot less popular than today, and the marketing department’s decision to produce an annual special edition usually in a new colour with matching ink. The first of these appeared in 2004 and this has now become an annual event with multiple themed releases in more recent years. So every year with the special edition the Safari gets a big marketing push and the pens become collectors’ items for the enthusiasts in pursuit of a complete set. Two of my pens are special editions with the ‘blue macaron’ from 2019’s ‘pastel’ range and the ‘violet’ from 2020’s ‘candy’ range. You can of course get it in black if you want.

The pen itself is made from ABS plastic, the same material Lego is made from and if you have ever stepped on Lego in your bare feet you will know how tough that stuff is. The design though it has its critics is very distinctive. Put it in a tray alongside a dozen other fountain pens that only an expert could tell apart and even a complete fountain pen novice could pick out the Safari. The grip does seem to get some people worked up but even as a lefty writing sometimes at very odd angles I have never had a problem with it. As with most Lamy pens the nib is easily changed for any of the wide selection of widths and styles available. If you wish you can even mount one of the company’s gold nibs. Since I write small all my nibs are ‘extra fine’.

Many fountain pens take standard international cartridges giving you a wide range of ink options from multiple producers but Lamy is one of the makers using proprietary cartridges so your colour options are a little limited. Alternatively, install a converter and you can explore the thousands of bottled ink options available. Right now my yellow and blue macaron pens are using converters with iroshizuku syo-ro ink in the former and shikiori shigure in the latter. The violet, my most recent purchase, is still using the blue cartridge that came with it.

Over time Lamy has produced several variants of the Safari including the AL-star in aluminium, the transparent Vista, and the slightly more upmarket Lx. There is nothing about the Safari I dislike which is probably why I have three of them. They are also as fountain pens go very cheap, typically around $25 in the US and £20 in the UK. This means you can collect them without breaking the bank and if you do happen to leave one behind somewhere it’s going to be a little less painful than if you left your $1,000 Montblanc.

Enough from me but if you would like to read more, Lamy’s beautifully designed website has lots of information and great product photographs, while Swedish based German blogger Michael Waltinger at Scrively has an insightful interview with Wolfgang Fabian (from which I have borrowed) which includes pictures of the earliest Safaris and their themed packaging. If you do take a notion to buy a fountain pen please shop at an independent retailer and give Amazon a miss. I have bought from Goulet Pens, JetPens and Endless Pens and had great service from them all.

Nikkor AI-S 105 f2.5

I recently picked up the Nikon AI-S 105mm f2.5 lens. I attached it to my FM2n and over the last couple of weeks I have been out and about around Sofia shooting with it. I got the developed film back yesterday and scanned the negatives last night. So here are some thoughts on the lens and some sample shots.

First, the lens itself. Having already bought a 24mm, 35mm and 50mm for my Nikon I was looking for something a little longer for occasional use. The obvious option was one of the various AI or AI-S 85mm lenses but for some reason these do tend to be expensive even by Nikon standards. I was aware of the 105mm/f2.5 having read many good things about it but considered the focal length to be a little more that I wanted.

However, when one showed up for just under $200 in very good condition I decided to try it. The AI-S version of this lens was introduced in 1981 and continued in production until 2005. From the serial number mine appears to be a very early copy. As far as I can ascertain the optical design of this lens goes back much further having been introduced in 1971. That in turn was an optically redesigned version of the original 105mm/f2.5 introduced in 1954. Over time the 1971 version added Nikon’s integrated coating and was adapted mechanically for Nikon’s new automatic indexing system.

The 1971 lens was designed by Yoshiyuki Shimizu who was responsible for many of Nikon’s most famous lenses. The lens has five elements in four groups and is sometimes described as a Gauss type design, though Nikon’s website describes it as a Xenotar type lens. The Xenotar itself is described as a hybrid between the Gauss type and the Topogon type. Confused? Me too. I’ll leave those of you interested in these matters to do your own research. You might start with the Nikon’s own history page for the lens and take it from there.

As with most lenses of this vintage the 105mm/f2.5 is a solid piece of kit made mostly of metal and glass and weighing in at 435g or just under 1lb. The focus ring turns smoothly and evenly and rotates through roughly 150°. Closest focus is 1 metre or just over 3 feet. The aperture ring is similarly smooth and even with well defined clicks at each full stop. This lens has a maximum aperture of f2.5 which is marked on the lens body and while there is no mark for f2.8 there is a click stop for it. Minimum aperture is f22. Everything is engraved as you would expect and the aperture markings have Nikon’s traditional depth of field colour coding. Up front the lens takes 52mm filters, like every other AI and AI-S lens I own. In short, if you have ever owned or used an AI or AI-S lens you will know exactly what to expect.

It’s actually quite a compact lens — 2.5″ wide and just over 3″ long — and feels very well balanced on my FM2. It is shortest at infinity and extends around half an inch as you focus in closer. The AI-S version added a retractable built in lens hood which blends in very well with the overall design. It slides out smoothly and snaps into place with a distinctive click. I rarely use a lens hood but it is nice to have it available without having to carry it as an extra.

I could try and describe the results this lens produces but I believe that this is largely a subjective matter so instead I will add some images and let you decide for yourself. The images were shot on three separate days around Sofia using the lens on my FM2n. All were shot on Kodak Ektar.

First, a couple of shots taken in the colonnades that surround the building housing the Council of Ministers and the Constitutional Court, and a view over the rooftop and domes of the Sofia History Museum, formerly the public bathhouse.

Next a couple of pictures taken at the ‘Zhenski Pazar’ – the Women’s Market – in downtown Sofia. This is the place to buy cheap, fresh produce. Unlike the supermarkets everything here is sold in season so while you may not be able to get everything you want all year round what you can get it is always fresh.

Some sculpture next. The first picture is of a bust of Ronald Reagan that stands in Yuzhen Park. This picture was shot with the lens wide open at f2.5 and gives some idea of the rendering of the out of focus areas. The two following images are of a statue of Patriarch Euthymius of Tarnovo, a 14th century Bulgarian saint. The first was taken at f8 and the second at f2.5 so you can compare the way in which the lens presents the background.

Now a couple of shots from one of my favourite places in Sofia. These are the mineral water fountains that deliver year round hot spring water.

Three more shots to go. These are some of my favourite shots from this roll. The first is one of those shots that appeal for no obvious reason. It could be the combination of strong vertical and horizontal lines. Or perhaps the echo of the pedestrian crossing sign in the actual pedestrian crossing the street. Or maybe the street on the right of the image receding into the distance which adds some depth. Or possibly the light and shadow. Or perhaps some combination of all of these elements.

Next is a shot taken outside the Saint Nedelya Church in central Sofia. I spotted the two men framed by the sun shining through the archway and waited for someone else to enter the frame. Eventually the woman, who had just left the church, did so and I got this shot. I liked the grouping of the people in the image and the way in which they are all framed by the sunlight through the arch.

Finally, this shot was taken near the mineral water springs where there is a tram stop. I pre-focused and waited for a passing tram. When one stopped in front of me I took a couple of shots of which this was the best.

So that is the Nikon Nikkor 105mm f2.5 AI-S lens. If you are a Nikon shooter using manual focus lenses the 105mm/f2.5 is worth your consideration even if it is not a focal length you typically use. The combination of compact size and optical quality is hard to beat.

Mark Power – Good Morning America

I’m not really sure what to make of this book. Perhaps my mistake was to start at the back where Power has a short essay.

‘For as long as I can remember’, he writes, ‘I’ve wanted to explore America, an ambition fuelled by a legion of TV shows that crossed the Atlantic in the 1960’s. As a young and impressionable child I devoured The Man From UNCLE and The Fugitive but it was the westerns evoking a landscape altogether removed from the congested English suburbs surrounding me that I loved the most: Bonanza, The High Chaparral, The Virginian and in particular Casey Jones, the adventures of a middle-aged railroad driver putting the world to rights.’

I am of a similar vintage to Mark Power and I grew up on a similar diet of Americana, adding only Alias Smith and Jones, though I believe that was from the early 1970’s. These television shows evoked an imagined America for me also and perhaps I expected Power’s childhood vision to more closely match my own. Instead, turning to the photographs my impression is of a bleaker, harsher imagining of the country than these shows ever conjured up for me. (Though perhaps the contrast with my expectations renders the pictures gloomier to my eye than they might otherwise appear.)

Part of the difficulty of assessing this book is that it is only the first of five planned volumes so the images gathered here are only a fragment of the whole. The pictures in this volume were taken across the country between 2012 and 2018. The challenge for Power, as for any photographer who trains his or her lens on the US, is that the ‘decline of America visually expressed’ genre is heavily oversubscribed and even more heavily clichéd. On first glance, not a few of Power’s images seem to fall into this genre and clichés are largely unavoidable. Of course, this is just my reading of the images for Power himself does not seem entirely clear what his project is about.

I never begin a project with a thesis I want to prove; if I did that I’d surely limit myself denying myself all sorts of opportunities. I try to remain open-minded and, certainly, the longer I spend in America the more I learn…but the more confused I get as well.

Elsewhere, though, Power is much more explicit about the thinking behind the project. In an interview with In Sight published in the Washington Post Power described the work as ‘endlessly shattering these romantic, imaginary images that exist happily in my head.’ So, not so much in search of that imagined America of his youth, but more in search of its dissolution. Power also explicitly connects the work to the ‘decline of America’ genre, but argues that ‘the decline has been going on for decades’. This is a thesis, and while Power may not be intent on his photographs proving that thesis, clearly the choice of subject and the choice of images for the books is going to illustrate that thesis.

There are good photographs in here and as I have returned to the book I have found certain images revealing more than I saw at first glance. However, there are still too many that leave me cold. Perhaps if this had been a one off book rather than one of a five-part series the picture selection might have been more rigorous. Or perhaps I’m just missing something.

Power’s biggest challenge is that in producing a book that aims to represent the American everyday in colour he is following in the footsteps of the likes of Joel Sternfeld, William Egglestone and, above all, Stephen Shore. Interviewed by the Guardian in 2007 Shore said,

To see something spectacular and recognise it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognise it as a photographic possibility – that is what I am interested in.

Power is trying to see the photographic possibilities in the ordinary but anything less that a truly exceptional image or project is always going to fall short when set alongside Egglestone or Shore, no matter how provocative the thesis.

I’m still undecided whether I should persevere with the series. The second volume has already been released and I go back and forth over buying it, though today I am leaning towards doing so. The book itself is of very high quality. Unfortunately many of the images are printed across two pages and the book does not lay flat. There are also quite a few panoramic images that are spread across two pages plus a third fold out page.

I will finish with a comment on Amazon. I try not to buy photobooks from Amazon but sometimes the prices are unbeatable as was the case for this book. True to form the book came packed in a totally inadequate way with no protection for the corners which were bent. I could have sent it back, but I tend to treat Amazon like a second-hand book retailer these days. If it’s cheap enough I’ll look on it as a used book and not worry about superficial damage. I did contact them to point out the problem but they clearly could not care less.

Links

  • Publishing Information: GOST
  • Mark Power: website
  • Review: ASX (lots of sample images)
  • Where to buy: Volume I is now out of print though new copies are still available at Photobookstore in the UK at £85. In the US you will need to check with Alibris on Abe Books where you can expect to pay upwards of $100.

Daido Moriyama – Record

A prolific photographer, Daido Moriyama is also a prolific publisher of photobooks. As well as dozens of monographs Moriyama also publishes a regular journal, RECORD, containing a selection of images and a brief commentary. Originally started way back in 1972, Moriyama got as far as issue 5 in 1973 before stopping publication. Revived more than thirty years later in 2006 RECORD has been published regularly ever since with issue 42 appearing recently. While many of the older issues can still be found second hand some of them are much rarer and correspondingly expensive when they do show up. A reprint of issues 1 – 5 appeared around ten years ago but that book is now out of print and sells for $200-300 on the used market. Thanks to Thames & Hudson though, the earlier issues of RECORD are now available in a more affordable package. Daido Moriyama: Record contains a selection of images and Moriyama’s brief commentaries from issue 1 to issue 30 taking us up to February 2016. The publisher decided to make the book the same size as the journal so the images are reproduced at the same size as the originals.

Coverage of the first five issues is disappointingly basic. While there is one full size image from issues one to four the rest of the images are much reduced in size with two double page spreads from the original being compressed onto one page. Number five is treated a little differently with what appears to be the full issue presented in facsimile, though again at reduced size. This lack of full size images is a shame since it would have been interesting to compare them with the pictures appearing from issue six onwards given the gap of more than 30 years between the earlier work and the later. From issue six onwards all the images are full page and there are plenty of them with ten to twelve pages, and sometimes more, devoted to each issue.

The immediate impression on opening the book is what you would expect from Moriyama – the everyday urban environment shot in high contrast, sometimes to the point where images seem almost to be literally black and white, with lots of grain. Once settled in for a slow browse the pictures reveal much more. I find that there are some photographers whose work is best viewed in small batches or even single images but for me Moriyama’s images cry out to be consumed in bulk. There is a relentlessness to his photography that requires a corresponding relentless looking. While an individual image may seem mundane, even boring, cumulatively there is an incredible visual power here.

While Moriyama is probably the best known Japanese photographer of his era and is steeped in the Japanese photographic tradition a number of the brief commentaries that accompany each issue focus on the many non-Japanese influences on his work: Richard Avedon, Roland Barthes, James Baldwin, Jack Kerouac, William Faulkner and above all William Klein. In Record 23 Moriyama describes the impact of Klein’s work on him as a young man.

My encounter with Klein’s book New York when I was just twenty-two and still loitering at the door of the photography world was a defining moment for me. The abundant results of extremely violent and freewheeling camera work that were tossed into that single volume made me dizzy. For the first time I experienced the physiological pleasure and impact of the photographic image. Without giving a damn at that time about rationale and knowledge, I just stood there gazing and muttering, ‘Awesome.’

Klein in turn is a fan of Moriyama. In Record 10 Moriyama recalls words that Klein wrote for one of Moriyama’s photobooks.

So many photographers, HCB is one, keep telling us that life can be beautiful, but for Daido life can be, and is, pretty shitty…and photography as well. Now, after rubbing our noses in that for years and years, he has just put together a show in Paris – the first show of his that I’ve seen – and its like the movie when the man says to the girl, ‘Hey, take off your glasses,’ and she does. ‘But your beautiful,’ and she is. And today we see Daido’s tragic, despairing, no-way-out, end-of-the-world photos for what they always were, fucking beautiful, like he is himself. So…more power to him.

Moriyama himself appears to be refreshingly free of self-regard and eschews the opportunity to over analyse or explain his own photography, while still offering some insight into his work. In Record 24 he reflects on the meaning of his ‘snaps’ having looked up the word in a Japanese-English dictionary.

I consider the style of my own street ‘snaps’ as scraping and snatching all kinds of views and all kinds of people and scenes I encounter in the streets. At the back of my mind I am biting at everything in the external world. It is almost the same as stealing.

This record of Moriyama’s snatched encounters with the streets, not only in Japan but around the world, is a must have for anyone who appreciates Moriyama’s work or good street photography in general. Highly recommended.

Finally, here are a couple of excellent short videos about Moriyama. The first, from the Hasselbald Foundation is an interview conducted when he was announced as the Foundation’s Award winner for 2019. The second was produced by the Tate Gallery in 2012 to coincide with the joint Moriyama- Klein exhibition at the Tate Modern that year. This video is narrated by Moriyama talking about his photography while showing him at work on the streets of Tokyo and in his studio.

This a substantial hardback book with 280 images spread over 484 glossy pages and comes in a slip cover. I bought my copy from Amazon in the full knowledge that it would be damaged on arrival as a result of shoddy packaging. Sure enough the corners were dented, but at least the slip cover protected the actual book. I bought from Amazon because they were offering it a great price, but generally I always recommend people to buy books elsewhere.

Links

Val Williams – Martin Parr

In 2014 Phaidon published an updated edition of their Martin Parr retrospective called, imaginatively enough, Martin Parr. In numbers: 464 pages, more than 600 photographs, and a list price of £60 / $100.

I’ve always liked Parr’s work so when a new copy showed up on AbeBooks for less than $40 I snapped it up. The book covers Parr’s photographic work from his earliest days up to 2011 and has broad selections from many of his projects and publications. The images are accompanied by an extensive text from Val Williams detailing Parr’s career and discussing his work.

I lingered over the early work from Hebden Bridge shot in black in white and recently published by Aperture as The Non-Conformists. For those used to Parr’s vivid colour imagery these pictures will come as something of a surprise not only for being in black and white but also for their gentle almost melancholic feel. Even as Parr was shooting these images in the 1970’s this way of life and these communities, often centred round church or chapel, were dying out. Growing up at that time in a similar environment of non-conformism I find these truly moving images.

Parr’s transition from black and white to colour was strikingly demonstrated in The Last Resort probably Parr’s best known work. The images from The Last Resort, published in 1986, were shot between 1983 and 1985. At the time this work was quite controversial generating considerable criticism of Parr for supposedly mocking and ridiculing the British working classes.

The Last Resort was published during the early years of Margaret Thatcher’s time as Prime Minister of the UK. Mrs Thatcher polarised political opinion in the UK and the policies her government pursued in those earlier years did weigh heavily on working class communities as the country’s long established industries were broken up, privatized and in many cases reduced to mere shadows of what they had once been.

Parr’s ‘crime’ was to portray the British working class, facing this transformation, honestly. And an honest portrayal was unwelcome among many of the largely middle class and often metropolitan critics of the Conservative government. Middle class radicals needed the working class to be victimised and oppressed, or radicalised and rebellious. In Parr’s New Brighton they refused to play along, neither skulking at home feeling sorry for themselves nor lining the barricades fomenting revolution.

For people like me, who spent each year holidaying in resorts not dissimilar to New Brighton, dining on fish and chips, eating ice cream even as the wind took the skin off our bones, determinedly picnicking while huddled inside the car in the driving rain, spending all our preciously accumulated pennies in amusement arcades, Parr’s subjects look like us. We had no need to create a fantasy working class, and thus we saw nothing in these images that was offensive or judgemental.

As Val Williams, who curated Parr’s major retrospective at the Barbican in 2002 and has written the accompanying text for this published retrospective, argues:

I don’t think The Last Resort is controversial…The reviewers at the time had a problem with the working class. There’s a whole load of predominantly male, middle-class journalists who have a fear of mothers with pushchairs. I kept looking at the pictures, thinking, ‘This is just normal life.’ These are people having a good time.

Over time with the passing of that particularly confrontational era, Parr’s work in The Last Resort has grown in reputation and, indeed, affection. In the meantime, other photographers have turned their cameras on the British working class with results that make Parr’s work look positively rose-tinted.

We’re not even half way through the book at this point and there is too much in here to begin to describe or discuss. Yet one more controversy does deserve some comment. In 1994 Parr applied to join the famous Magnum agency. His application was met with considerable hostility on the part of some members, most noticeably Phillip Jones Griffiths famous for his work in Vietnam and a former President of the agency. It’s no exaggeration to say that Jones Griffiths despised Parr and his work. As part of his campaign against Parr’s membership he wrote to existing members:

[Parr] is an unusual photographer in the sense that he has always shunned the values that Magnum was built on. Not for him any of our concerned ‘finger on the pulse of society’ humanistic photography…His penchant for kicking the victims of Tory violence cause me to describe his pictures as ‘fascistic’ … Today he wants to be a member…Please don’t dismiss what I am saying as some kind of personality clash. Let me state that I have great respect for him as the dedicated enemy of everything I believe in and, I trust, what Magnum still believes in.

Not all of Parr’s critics in Magnum shared Jones Griffiths political and personal animosity towards Parr but they were still sufficiently sceptical of his work to oppose his membership. In the end he was elected by the necessary two thirds majority but only just. (Times have changed. Parr was elected President of Magnum in 2014). Their core objection was that Parr was not a sufficiently ‘humanistic’ photographer. As Parr recalls,

The principle objection would be that I would appear to be cynical, voyeuristic, exploitative. All these were the words that I heard.

And perhaps if Parr had been photographing war zones, famines and the aftermath of natural disasters as many Magnum photographers did they might have had a point. But what they failed to realise is that humanistic photography could mean different things in different contexts. What they also failed to realise is that for the overwhelming majority of the world’s people, and not just those of the ‘West’, war, famine and disaster are not the norm. Documentary photography had to be about more than humanising those dehumanised by the most extreme of circumstances. Parr made this point himself when interviewed for the BBC series The Genius of Photography:

Magnum photographers were meant to go out as a crusade … to places like famine and war and … I went out and went round the corner to the local supermarket because this to me is the front line.

This, for me, is the genius of Parr’s work. He is a humanistic photographer, if that means a photographer who allows us to see human life in its abundant variety and allows us to see it in all its frailty, complexity and glory.

If you already have a dozen of Parr’s books on your shelves this one is probably superfluous. If not, and if you like what you have seen of Parr’s work this is highly recommended.

Martin Parr’s website. Martin Parr on Magnum. Martin Parr interviews at ASXLensCultureDaily TelegraphObserverand theBBC.