The First World War: Color photographs of the German Front 1914-1918
02.10.2014
04:22 am

Topics:
History

Tags:
Photography
J. B. Priestley
World War I

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These incredible color photographs of the German battlefront during the First World War, 1914-1918, were taken by Hans Hildenbrand.

The novelist and playwright, J. B. Priestley, who fought in the war, described the difference in strategy and the folly of attitude between the opposing armies in his memoir Margin Released:

The British Army never saw itself as a citizens’ army. It behaved as if a small gentlemanly officer class still had to make soldiers out of under-gardeners’ runaway sons and slum lads known to the police. These fellows had to be kept up to scratch. Let ‘em get slack, they’d soon be rabble again. So where the Germans and French would hold a bad front line with the minimum of men, allowing the majority to get some rest, the British command would pack men into rotten trenches, start something to keep up their morale, pile up casualties and drive the survivors to despair. This was done not to win a battle, not even to gain a few yards of ground, but simply because it was supposed to be the thing to do. All the armies in that idiot war shovelled divisions into attacks, often as bone-headed as ours were, just as if healthy young men had begun to seem hateful in the sight of Europe, but the British command specialized in throwing men away for nothing. The tradition of an officer class, defying both imagination and common sense, killed most of my friends as surely as those cavalry generals had come out of the chateaux with pol mallets and beaten their brains out…

...I still feel today and must go on feeling until I die, the open wound, never to be healed, of my generation’s fate, the best sorted out and then slaughtered, not by hard necessity but mainly by huge murderous public folly.

 
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More color photos from World War One, after the jump…

Written by Paul Gallagher | Discussion
Forget the Selfie, here’s the Shelfie
12.18.2013
07:36 am

Topics:
Books

Tags:
Photography
Selfies

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The Guardian has suggested an alternative version of the “selfie” called the “shefie.” In other words a portrait of the books and personal items displayed on people’s shelves—a literary shelf life, you might say. It’s just another in the seemingly endless list of self-obsessed, narcissistic images brought about smart technology—who’d a thunk sharing this stuff on social media was what the Internet was invented for?

The Guardian are currently accepting pictures and videos of people’s shelf lives, so if you have nothing better to do, and want to impress your pals by submitting a pic of all those heavy-weight literary tomes you’ve bought but never read, or you’ve just redecorated and have some simply gorgeous furniture to die for…then hop over to The Guardian for details of where to send your portrait or video. Meanwhile, here’s what others have been posting.
 
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More shelf life, after the jump…
 

Written by Paul Gallagher | Discussion
‘One of Us:’ Stunning portraits of origami masks

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Designer Francesca Lombardi has created a menagerie of haunting origami animal masks, which have been photographed in beautiful black and white portraits by fashion photographer Giacomo Favilla for a series called “One of Us.”

Via the excellent arts blog Yatzer:

Titled ‘‘One of Us’’, the project consists of black and white portraits of people sitting in a vintage armchair, while wearing beautiful origami masks. With the intention creating an impression of an imaginary world, where animal and human natures blend together as one, each mask has been laboriously folded over and over again to resemble a different animal. Be the animal a puma, a rabbit, a crocodile or a cat – they all take their turn in ‘‘being the face,’’ be that temporarily, of a person sitting to have their photo taken where their most striking feature is the fact that they have no eyes – they are in fact stylised blindfolds in the shape of animals.

 
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DM readers in London might like to know that the series will be exhibited at The Book Club beginning on November 28th. Or 28 November, if you prefer.
 
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Written by Ron Kretsch | Discussion
Old New York crime photographs superimposed on their present day locations
09.15.2013
09:31 am

Topics:
Crime

Tags:
Photography
New York

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The past inhabits the present in Marc A. Hermann’s composite images of crime scene photographs overlaid on their present day locations.

Above: 497 Dean Street, Brooklyn. A distraught Edna Egbert battles the police on the ledge of her home.
 
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427 1/2 Hicks Street, Brooklyn. Gangster Salvatore Santoro met a violent death on January 31, 1957.
 
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923 44th Street, Brooklyn. Gangster Frankie Yale dead after a car crash, July 1, 1928.
 
More then and now crime pix, after the jump…

Written by Paul Gallagher | Discussion
Peace at Last: Beautiful and moving photographs of dead animals
08.28.2013
12:43 pm

Topics:
Animals
Art

Tags:
Photography
Death
Gemma Davies

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It was Gloria the cat that first brought Gemma Kirby Davies the “gift” that started her photographing dead animals.

“It started about 18 months ago when Gloria (the cat) brought me a gift,” Gemma tells Dangerous MInds. “A perfectly intact, but totally lifeless mouse–which as it fell from her mouth to the floor, seemed to sink into the earth with a complete sense of purpose and ultimate timeliness. It was his time to go, and the earth swallowed him back up. It made me feel a huge sense of peace toward death.

“Gloria rarely eats her prey, and so the mouse’s corpse was given back to nature. In one of my favourite books, Jim Crace’s Being Dead, there are beautiful descriptions of nature reclaiming nature and how through the death and decomposition of living things, nature is renewed and the dead (once living matter), prevail in the earth, the soil and the plants.”

Gloria’s gift inspired Gemma to begin photographing dead animals, when and wherever she discovered their bodies, and curating these beautiful and moving pictures on her website Peace at Last. It should be made clear that Gemma has nothing to do with the demise of any of the animals photographed, and her work aims to preserve something of each creature’s final beauty. The site is introduced by the poem “Death Be Not Proud” by John Donne:

Death, be not proud, though some have called thee
Mighty and dreadful, for thou art not so;
For those whom thou think’st thou dost over throw
Die not, poor Death, nor yet canst thou kill me.
From rest and sleep, which but thy pictures be,
Much pleasure - then, from thee much more must flow;
And soonest our best men with thee do go,
Rest of their bones and soul’s delivery.
Thou’rt slave to fate, chance, kings and desperate men,
And dost with poison, war and sickness dwell;
And poppy or charms can make us sleep as well,
And better than thy stroke. Why swell’st thou then?
One short sleep past, we wake eternally,
And death shall be no more. Death thou shalt die.

Gemma Kirby Davies: We, like all animals will one day die. It’s something I find sad, but reassuringly certain. I hope my photographs evoke a sense of how I perceive death; wholly still, eternally quiet and completely calm.

I see death as stillness and as sleep. Not all of my images are cute and fluffy; some animals may have come to a brutal end and their visceral wounds reflect that. But death for me is always an end to chaos: an end to suffering, peace at last.

Dangerous Minds: What attracted you to this subject matter?

Gemma Kirby Davies: Growing up I was always interested in dark themes in art; Francis Bacon’s paintings and macabre literature. I love Taxidermy, and have been extremely inspired by this art trend, especially the exquisite work of modern artists like Polly Morgan and Nancy Foutts.

Yes, there is a deeper meaning behind what I am doing, but I think the colours and composition of my pictures work on a superficial level too – dead animals can be visually stunning… and much easier to photograph when still.

DM: What has the response to your work been?

Gemma Kirby Davies: It’s not for everyone. My aunt’s response to the invite to my recent exhibition was, “Of course I’ll come and support you dear—as long as you don’t expect me to ever put any of it up on my walls!” and on applying for a stall at Spitalfields Art Market, I was advised that my work wasn’t family friendly and cautioned that my photographs could be “interpreted as disturbing”… I didn’t have the heart tell them that that was sort of the point!

I think art should always incite feeling, and if we all got excited about the same things then life would be rather boring. Reactions like that - especially from an art market in London’s seemingly edgy East End - prove that there is a real stigma around portraying death in art. If I have hit a nerve with this subject matter then I am glad of positive and negative responses as it opens up a debate.

Gemma is now developing a Peace At Last book, which will include pictures sent to her by other artists. If you are genuinely interested in submitting a picture, “your personal interpretations of this theme (photos of ‘peaceful’ dead animals),” then please send your images to peaceatlastphotography@yahoo.co.uk Alas, Gemma can’t offer a fee, but if published in the book each artist will be credited and “of course get free champagne at the book launch!”

Discover more of Gemma Kirby Davies’ incredible photographs at her site Peace at Last.
 
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More after the jump…

Written by Paul Gallagher | Discussion
Tube Tales: Photographs of commuters on the London Underground 1970s-80s
08.15.2013
05:23 pm

Topics:
Art

Tags:
Photography
London Underground

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Armed with his Leica M4, photographer Bob Mazzer spent two decades documenting London’s commuters, tourists, and workers, as they traveled through the city’s famous Underground system.

Mazzer shot most of these photographs as he traveled to-and-from work. An exhibition of his Mazzer’s incredibly evocative images was first shown at a Greater London Council exhibition at the Royal Festival Hall in the 1980s. View more here.
 
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Via the Daily Telegraph
 
More photos from the Underground, after the jump…
 

Written by Paul Gallagher | Discussion
Color photographs of Circus performers 1940-50
07.21.2013
01:20 pm

Topics:
History

Tags:
Photography
Circus

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I fell in love with the circus when I was about four. It was Billy Smart’s Big Top, where I sat with my parents and brother on tiered wooden benches, eating candy floss, watching parabolas of delight unfurl on the trapeze, high-wire acts hover magically on tip-toe, acrobats build structure from chaos, and clowns colorfully spill across the sawdust. It is a love that has lasted, and I still feel the cold-water shiver of excitement whenever the circus comes to town.

These stunning color photographs from the 1940s and 1950s of circus performers, are taken from Dominque Jando’s superb The Circus Book: 1870-1950. The images are so vibrant, one could almost step into the frame and join in all the fun.
 
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More circus portraits, after the jump…
 
Via Retronaut, H/T Tom Ruddock.

Written by Paul Gallagher | Discussion
Celebrated film-maker Jean Rouch’s one-reel portrait of photographer Raymond Depardon
07.17.2013
02:53 pm

Topics:
Movies

Tags:
Photography
Jean Rouch
Raymond Depardon

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Jean Rouch filmed and directed this delightful one-take, one-reel film on renowned photographer Raymond Depardon.

Rouch was one of the founders of cinéma-vérité, whose work influenced D. A. Pennebaker and Albert and David Maysles. Rouch also developed the “jump-cut” in Moi, un noir (years before Jean-Luc Godard took credit for it), and was a pioneer of Nouvelle Vague. For his movies, he is also known as the “Father of Nigerian Cinema.”

Depardon is a self-taught photographer, who began his career as a photo-journalist covering the wars in Algeria, Vietnam, Biafra and Chad. He is a member of Magnum, and is internationally recognized as a photographer and film-maker.

A Portrait of Raymond Depardon captures an engaging moment between two greats of film: director Rouch and photographer Depardon discussing and contrasting their individual approaches to their crafts.

It’s a great wee film and rewarding for the insight it gives. The film was shot in Paris on April 19th, 1983, at 7pm.
 

 
H/T Vasco Pimentel

Written by Paul Gallagher | Discussion
Jenna Pope: Photographs of NYPD brutality at vigil protesting the killing of Kimani Gray

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This week, Brooklyn has seen a community come together for vigils and demonstrations in protest over the shooting of Kimani Gray by the NYPD.

16-year-old Gray was shot by 2 officers patrolling East Flatbush in an unmarked car around 11:30 p.m. on Saturday night.

The autopsy report, released Wednesday, said 7 bullets were removed from Gray’s body, 3 of these had entered his body form the rear. Police claim they shot Gray after he had allegedly pointed a .38-caliber Rohm revolver in their direction.

The police allegations have been contradicted by the only civilian eye-witness account that claims Gray was “unarmed.”

From this it is apparent that the NYPD have the power to kill who they want, when they want, without interference or sanction.

This can not and should not be tolerated.

The shooting deepened tensions between the Community and the NYPD, with the police response to the local vigils and marches criticized as being insensitive, over-the-top and brutal.

While a Brooklyn community comes to terms with the unfettered violence of the NYPD, one mother still waits for her teenage son to come home.

We send sincere condolences to Kimani’s mother, Carol Gray and her family.

Kimani Gray R.I.P.

The activist and freelance photographer Jenna Pope attended a vigil for Kimani on Wednesday night.

Jenna was there to show respect for Kimani, support the community, and to photograph the vigil.

The night ended in a police riot, with Jenna badly injured and in need of hospital treatment.

This is part of her account and some of her photographs from that night, and I ask you check out Jenna’s photographic report over at her blog site.

This week, there have been vigils and marches in response to the NYPD shooting and killing Kimani Gray in Brooklyn. I was there on Wednesday, and although the vigil and march started out peacefully, the cops decided to block us from using a crosswalk while we were on the sidewalk, and continued agitating the whole night. I believe that’s what we call a “police riot.”

I was only able to photograph the beginning of the march since there was a quick end to my night when I was hit by a thrown object. An arrest was happening to my left, and I was hit on the right side. I received a concussion and was driven to the hospital in an ambulance where a doc put 5 stitches in my head. I have no idea what it was, or who threw it. If it was one of the many young, rightfully angry friends of Kimani Gray, then I honestly can say I would not be angry with them. Instead, I am angry that the NYPD shot 11 rounds at 16 year old boy, hitting him the back and killing him – which is what cause this outrage in Brooklyn.

If we want to seriously change the world, then we need more activists and photographers like Jenna Pope to bear witness to the truth, to give a damn and make a difference.

If you want, you can support Jenna Pope fight for justice, one photo at a time, by donating here. Thanks.
 
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More of Jenna Pope’s photographs, after the jump…
 

Written by Paul Gallagher | Discussion
Free Cuddles: Apparently…
02.28.2013
05:20 am

Topics:
Amusing

Tags:
Photography
Free Cuddles

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Free Cuddles? Though tempted, I’m unsure whether this is an offer to embrace or, to liberate…?
 
With thanks to Paul Darling, via Eat Liver
 

Written by Paul Gallagher | Discussion
A photograph of Patti Smith aged 11
01.15.2013
08:09 am

Topics:
Music
Pop Culture

Tags:
Photography
Patti Smith

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A photograph of Patti Smith aged 11.

Smith was ill for a lot of her childhood - sick with bronchitis, tuberculosis, scarlet fever and ‘three different kinds of measles’. Though she has claimed she was happy throughout her childhood, Smith did, for a time, think of herself as “alien to the human race”, as she explained in an interview with the Observer in 2005:

‘From very early on in my childhood - four, five years old - I felt alien to the human race. I felt very comfortable with thinking I was from another planet, because I felt disconnected - I was very tall and skinny, and I didn’t look like anybody else, I didn’t even look like any member of my family.’

Read the full interview here.
 
With thanks to Tony Vermillion, Via Another Mag
 

Written by Paul Gallagher | Discussion
FILMography: Photographs of movie stills in their original location

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FILMography is a cool site where movie stills are placed within their original film locations, and then photographed.

The theory is: ‘FILM + photography = FILMography.’

This delightful site is curated by writer, journalist and photographer Christopher Moloney.
 
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More Filmography, after the jump…
 
With thanks to Robert Coupée and Anne Billson
 

Written by Paul Gallagher | Discussion
Anne Pigalle: Premieres her new show ‘L’Ame Erotique’

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Fighting against our intellectual and spiritual enslavement, the incomparable Anne Pigalle premieres her new show L’âme érotique, at the Hotel Bijou, Broadstairs in Kent, on August, 23.

The exquisite Anne is one of the world’s great chanteuses, and this new show brings together an intimate salon of her photography, her poetry, her discourse and of course, her brilliant singing.

The show’s title comes from Anne’s last spoken word disc L’âme érotique, which showcased a selection of twenty-one erotically charged poems, each with their own musical accompaniment. The poems dealt with love, sex, and soul, and was a fantastic oeuvre that ranged from the personal (“You Give Me Asthma”, “Lunch”) through the comic and the Surreal to the sexually explicit (“Saint Orgasm”, “X Amount” and “Erotica de toi”). Throughout is Anne’s richly seductive voice sounds as intimate as a kiss. It’s a fabulous mix, and for fans of the legendary Miss Pigalle, and for first timers, it’s a breathless, arousing and unforgettable introduction.

If you are in the UK, then this is your chance to see the legendary Anne Pigalle at her very best. Check here for details, a dn below a selection of Ms. Pigalle’s erotic photographs.
 

 
A selection of Anne Pigalle’s erotic photographs, after the jump…
 
Previously on Dangerous Minds

‘L’Amerotica’: The return of the brilliant Anne Pigalle


 

Written by Paul Gallagher | Discussion
This Week’s Question: Why does the N.M.E. want fans’ photos of The Stone Roses?

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This week’s question (apart form when will we Nationalize the Banks?) is: why does the N.M.E. want fans to photograph The Stones Roses at their reunion concerts at Heaton Park, Manchester this weekend? Has it anything to do with a certain photographers’ boycott?
 
Previously on Dangerous Minds

Why Photographers are Boycotting The Stone Roses


 
Via NME’s Facebook page
 

Written by Paul Gallagher | Discussion
Why Photographers are Boycotting The Stone Roses


 
Something has happened to The Stone Roses and it’s not good. Over the past week a battle has been taking place over who owns the rights of any professional photographs taken of the band during their forthcoming reunion concerts.

The original contract offered to photographers stated:

(For) the payment by us to you of the sum of £1 The group (to keep) all Rights in perpetuity throughout the world so as to enable us to exploit the Photographs and the Rights as we (and/or they) deem fit without further reference or payment to you. You agree to provide us with digital copies of any or all of the Photographs upon request.

Photographers and artists own the rights to their images unless they sign those rights away. The Roses wanted them to sign all future rights away for a lousy quid, or around a buck-fifty.

As acclaimed photographer Ian Tilton told Dangerous Minds, ‘This kind of contract maybe standard when a band pays for a dedicated professional photographer to shoot a performance, but not for invited Press Photographers.

‘A standard contract would always agree to credit the photographers name.

‘A photographer employed by a top band to take photos at a gig, to be used by the band for publicity purposes only would earn £350-£1000 to take the photos. If the band then want to use the photos in a book the payment would be £80 to £250 per picture. If they wanted to use it on a CD or DVD cover the fee would be an extra few hundred pounds. The Stone Roses were just willing to pay £1 for an ALL RIGHTS buyout. This is insulting exploitation at its worst. - sign the contract and give the Roses ALL RIGHTS or they won’t allow the photographer to take any pictures at the gigs.’

Outraged by The Stone Roses’ contract demands, Tilton organized a campaign via his Facebook page, for press photographers to boycott The Stone Roses tour. After a flurry of texts of emails, a new photo release form was issued on behalf of the band, which now included the following:

The license hereby granted to you to photograph the artist is limited to the above grant only and NO right to sell, license or reproduce the material for advertising or commercial purposes (e.g., for use as posters, calendars, T-shirts, biographies, etc.) either to be sold, to be distributed free or to be otherwise exploited in any manner whatsoever. Nor may any material arising from the said session be reproduced in any publication devoted exclusively or predominantly to the artist unless prior permission has been obtained from THE STONE ROSES and their management.

It would seem that The Stone Roses have become so greedy that they not only want to control their image, but want to exploit others’ work.

As Tilton explained to DM, the reason it is important for photographers to own copyright of their work is because:

‘Photographers employed by magazines get paid only around £40-£80 per shot. Most online magazines pay expenses only. If photographers sell their images on after this ‘first use’ (called syndicating via an agency) they can earn between £20 and £250 per image - and the agency takes 50% of this amount. So you see how important it is to be able to syndicate images after their first use. The better the photo - the more chance it will get used again and again in the future.’

In a statement posted on his FB page, Ian Tilton explained why he and other photographers are against signing this new contract:

‘No - not signing it as it stands. It gives away most of our legal rights to earn future money off our photos. I refuse to sign their contract. I refuse to be made to ask the Stone Roses if my photos can be published in books or used in exhibitions in the future. They should not have control over my ‘art’ - I am the creator and I will control who uses it. That is what the current British law says so why do they want to change it and control our photographs, and control our financial income, outside of the British laws.

They were going to spring the original ‘exploitation contract’ on us when we arrived at Heaton Park but we found out about it. Their new replacement contract is controlling, immoral and takes away our rights that have been hard-won by brave people over the past few decades.

We have the choice to carry on with the boycott and be empowered now and for the future or….we set a precedent to be controlled and disempowered by greedy people.

EACH OF YOU is individually responsible for your own future as photographers and the future of all working photographers YES YOU ARE.’

Ian has also sent the following letter to The Stone Roses Press and Publicity Agent, Murray Chalmers:

Letter to STONE ROSES Press/Publicity Agent - Murray Chalmers at 1pm on Tuesday:

Murray,

It gives away most of our legal rights to earn future money off our photos. I don’t want to sign a contract that means I will have to ask the Stone Roses if my photos can be published in books or used in exhibitions in the future. They should not have artistic control over my art - I am the creator and I will control who uses it. That is what the current British law says so why do the Roses want to change that and control our photographs, and control our financial income, outside of the British laws.

Most photographers who will be photographing them live at Heaton Park will only be earning between £40 and nothing for their efforts. They rely on being able to syndicate their images to earn extra monies to pay the rent and afford that expensive equipment needed to take great pictures. Surely having great photos of the band freely circulating this can only be good for the band.

They were going to spring the original ‘exploitation contract’ on us when we arrived at Heaton Park but we found out about it. Their new replacement contract is still controlling, immoral and takes away our rights and income that have been hard-won by brave people over the past few decades.

Please will the Roses open communication with us and share their thoughts and feelings. They too are artists so surely, there are no major differences between us.

I’m finding it hard to reconcile that this contract has come from the band I know and love. It is inconsistent with the characters of the individuals I worked with, respected and was friends with when they were on their rise.

They were exploited by record companies and managers so I hoped they would have empathy and understanding for us photographer/artists, borne out of their difficult past personal experiences.

I love the Roses and feel saddened by all this.

Ian Tilton

The Stone Roses, or those representing them, have got this wrong, and the sooner this error is corrected, then the better it is for the rights of photographers to earn a living from their work.

Check out Ian Titlon’s work here and here.
 

Written by Paul Gallagher | Discussion
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