Photographic style: the good, the bad and the ‘necessary ugly’ – (Part 3)

At Rest

This is the third instalment of a three part essay on photographic style. Part 1, addressed what I see as the three determinants of a photographer’s personal style. Part 2 looked at the dangers of imitation. Part 3 looks at what I call ‘necessary, ugly style’ (by which I mean styles that gain effectiveness from eschewing artfulness). Continue reading

Photographic style: the good, the bad and the ‘necessary ugly’ (Part 2)

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Part 2

Bad style

This is the second instalment of a three part essay on photographic style. Part 1, addressed what I see as the three determinants of a photographer’s personal style. This second part looks at the dangers of imitation. Part 3 will look at what I call ‘necessary ugly’ style (by which I mean styles that gain effectiveness from eschewing artfulness). Continue reading

Photographic style: the good, the bad and the ‘necessary ugly’ – Part 1

This is the start of a three part essay exploring ‘personal photographic style’. It is not an analysis of what constitutes photographic style per se but more a reflection on how it is arrived at (if at all). Part 1 considers basic determinants of photographic style, Part 2 is about Imitative Style, and Part 3, considering what I call ‘necessary ugly style’ , will follow in the coming days. Continue reading

Walk the line: taboo subjects in street photography?

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The story of Kenneth Jarecke’s 1991 photograph of an Iraqi soldier burnt to death in his truck has been widely reported. Differing editorial decisions in the US and Europe saw the photograph published by The Observer in the UK and Libération in France but, not by Time magazine or the Associated Press in the US. This is one of many such examples where particular images are deemed too politically or socially sensitive in relation to dominant public narratives.

For street photographers, this issue of self-censorship raises interesting personal questions. Primary among them being: In what ways does your personal identity and ethics affect what and how you photograph? Mary Ellen Mark put it this way: Continue reading

Vivian Maier deserves more scholarship and less spectatorship.

© Vivian Maier/Maloof Collection

© Vivian Maier/Maloof Collection

The public’s appetite for Vivian Maier shows no signs of sating. Four books of images (and more on the way), two feature length films, international gallery exhibitions, and countless press articles since her archive was unearthed in a Chicago storage in 2007. Continue reading

Tatsuo Suzuki: An appreciation

Tatsuo SuzukiTatsuo Suzuki.  Image © Tatsuo Suzuki. http://justatoy.pixu.com/biography

 

 

 

 

Born in Tokyo Japan in 1965, Tatsuo Suzuki is a Tokyo based amateur photographer with a nine to five day job[1]. He started taking photographs in 2008. Initially photographing in colour, his signature black and white style quickly emerged. Continue reading