Posts Tagged ‘book’

German Indications – The Web of Life

Monday, October 2nd, 2023

German Indications – The Web of Life: Back in the 1980s I still had aspirations to be a writer as well as a photographer, and later I did write many articles about photography and get paid for doing so – something I now continue on this site and elsewhere for free, largely because I like to share my own photography and some of my political views.

German Indications - The Web of Life

But way back my writing, or at least attempts at writing were rather different, and I combined them with images in a rather different way. Mostly those old attempts are lost and best forgotten, but in 2016 I republished some of them in my book ‘German Indications‘ still available on Blurb both in print and PDF format.

German Indications - The Web of Life

You can also see some of the pictures and read all ten stories on the web on a site which I wrote in 1997 on my Buildings of London web site. The web site has an introduction:

“THIS story began more than thirty five years ago with the words ‘Dear Linda and ‘Liebe Christel’ as two schoolgirls, one in England, the other in Germany became pen-friends. (It also begins further into the mists of cultural history in a fairy-tale wood, and in many other places.)”

“Later there two girls met, and after a while their husbands and children met also. It was this relationship which provided my opportunities to live and work in the home of a working-class German family in a small town in the north of Germany.”

German Indications

I made prints for the exhibition of this work in 1986 printing the colour slides on outdated and discontinued Agfa direct positive paper to give a particular effect, something I tried to emulate when making the digital versions for the book. And so both come with a disclaimer, “photography and writing are necessarily fiction-creating enterprises – Any resemblances in this work to actual people places or events
are simply resemblances

German Indications - The Web of Life

The stories were exhibited with the pictures in the show, and recently I was reminded of one of the pieces I’d written and performed it to some friends. Here it is in full.


THE WEB OF LIFE

WE were in a floating restaurant in Hamburg. Appropriately it was a fish restaurant. Since I don’t care for fish – eating them that is – you may ask what I was doing having lunch there.

Well, there are times when a man’s gotta do what a man’s gotta do in the service of peace, quiet and marital bliss, although currently the quiet was under heavy attack from some excessively leaden oom-pa-pa Muzak.

German Indications - The Web of Life

On my plate a spicy aromatic sauce was struggling hopelessly to overpower the nauseating amine overtones of an oily coelacanth.

You’ll understand how I felt if you’ve ever travelled overnight via Harwich for the continent, ten hours bouncing on a North Sea storm to arrive at a bleary Hook to find that the Boat Train has just this minute left because the ship was so late, so you all have to squeeze together in a very smart but very small blue and yellow local stopping everywhere service along the side of the estuary to Rotterdam.

The line passes an unnaturally neat chemical plant, so neat that you can imagine you are travelling on a model railway layout, but the whole neighbourhood is enveloped in a perpetual miasma, a synthetic putrefaction now resembling rotten fruit, now decomposing carcasses, which invades to produce a tautness and throbbing between your temples.

Edging the site are rows of model Dutch houses lived in by model Dutch people, their faculties no doubt cauterised by constant exposure, every pore and organ saturated with the oily stench. Here too was surely the water from which this fish had been plucked, for the olfactory danger signal reaching me from it was distinctly in the same register. Fortunately -what happened next absolved me from any obligation to eat it.

We were suddenly surrounded by a troop of senior citizens in full gear – hats, lederhosen, dirndls, the lot (the complete compulsory dress for almost any German TV show) and obviously all set for a great day out.

Soon their tables were head high with steins and great steaming plates and tureens, waitresses at the double to the repeated cry “more potatoes, more potatoes!” & cutlery and reserve were abandoned in a furious stampede of eating and drinking.

We quickly paid our bill and ran for the door, making dry land just in time as the weight of the meal capsized and sank the restaurant. Linda reached for her hanky; there was nothing else we could do. A few handbags and hats floated to the surface among the bubbles and debris as nature red in tooth and fin got down to feeding in their turn of the food chain.

A simple illustration of one of nature’s many cycles.


More stories and pictures online in the web site and in the book preview.

78- Issei Suda

Monday, April 13th, 2020

Regular readers of this blog will know about my interest in and admiration for the work of Japanese photographer Issei Suda, and remember the post I wrote about him, Issei Suda (1940-2019) shortly after his death last year with some links to his work and writing about it.

A couple of days ago I came across a post on the British Journal of Photography online site, Issei Suda: 78 unseen photographs, which tells the story of how Cécile Poimboeuf-Koizumi, co-founder and director of Paris-based publishing house Chose Commune, wrote to Suda for the first time in January 2019 to ask about a new publication of his work. He was keen to cooperate, but sadly he died before she visited later in the year – but he had set aside a box of unpublished pictures for his widow to show her when she visited.

The book ’78’ presents 78 of these previously unpublished photographs taken between 1971 and 1983, typical of his work with its strangely unusual views of ordinary people and situations. It was only when she got back to Paris that Poimboeuf-Koizumi realised that the number of pictures she had selected for the book, 78, was also the age at which Suda had died.

You can see more pictures from the book on the Chose Commune web site, and it looks to be a finely produced work and a fine tribute to one of Japan’s most interesting photographers who received far less attention in the west than others whose work is rather more controversial and perhaps less intimate.

It’s a book I’m unlikely to buy myself as it is a little expensive at 55€ and I already have an earlier book of his work and a house with overflowing shelves and far too many books in it. But if you haven’t already met and lived with his work this is certainly worth considering.


Sarah Moon – Orient Express

Friday, January 10th, 2020

I’ve never travelled on the Orient Express, but years ago one of my late friends, Terry King, got what seemed to be a dream job, working on an advertising commission for the company.

He’d gone to their offices with his portfolio of gum bichromate prints and they had sat around them in awe in their kaftans (it was then a rather new age company.) I’ve described elsewhere how Terry, Randall Webb and myself had all started investigating the process but Terry had evolved his own methods of progressing with the process, using several large paper negatives printed in different tones and colours and with carefully controlled manual development at each stage to produce highly pictorial results.

So Terry got a free trip on the Orient Express to Venice, where he spent a few days taking pictures before returning to his London studio and working on the results, producing prints to take back to the company. He went in to show them the results and immediately sensed the company had changed management; in place of kaftans the executives were now all in smart business suits and ties. They didn’t appreciate his work and the project was abandoned.

Terry did make some fine prints of his work in Venice, and some of them will still be hanging on people’s walls around the country, with sales through an art dealer in Richmond. (I have one of his pictures of London on my wall – we did a swap – but not of Venice.) Until recently you could see some of them on his web site, but that is no longer on line. The only example I can find is on the Silverprint web site, a company which supplies fine photographic materials – including some of the chemicals and sundries that both Terry and I used. It is a picture from Venice and I think is possibly a cyanotype over a gum image, though it could possibly be simply a gum using two shades of blue.

I have met Sarah Moon (above with photographer Joan Fontcuberta), though only fairly briefly when we were both speaking at the FotoArtFestival in Bielsko-Biala in 2007. We shared several meals at the event and had some long conversations and there are a few more pictures of her in my diary.

Sarah Moon with film-maker Nina Rosenblum and photo-historian Naomi Rosenblum

Which brings me – finally – to the reason for this post, Sarah Moon : Orient Express – Louis Vuitton Editions – which was featured on ‘The Eye of Photography‘. This is a book in their Fashion Eye collection, a series in which each “book evokes a city, a region or a country, seen through the eyes of a fashion photographer.”

LV is a French fashion house and luxury retail company founded in 1854 by Louis Vuitton, who introduced a range of luggage with flat-top trunks for travel, which meant they could be stacked, particularly on rail journeys – previously trunks had been made with rounded tops so that the rain would run off when they were carried on open waggons and carriages. The Orient Express which began in 1883 thus seems a very appropriate subject.

You can read about this book on the UK LV web site, which has the same selection of stills as ‘The Eye of Photography’. But if you scroll down the page there is also an over- rapid ‘page-through‘ video of the book, which gives a good idea of the size and layout of the work. And if you change the video to 1080px, make it full screen and stop the playback you can actually see and read the pages. Presumably you can buy it in their shops as well as on-line, but at £42 (including standard delivery) although it looks an intersting book I find it a little too expensive – like their luggage.

Frank dies

Thursday, September 12th, 2019

Robert Frank whose book ‘The Americans‘ shook up photography when published in 1958 (and 1959 in the USA) died Monday, 9th November 2019. Born on 9 November 1924 in Zürich, Switzerland, he was 94. Frank was clearly one of the truly great photographers of the 20th century.

Studying that book changed photography for many of us, though many like me came to it rather late, though not long after I took up photography in the 1970s. As well as the direct influence there was also the work of a whole generation of photographers that were influenced by it, notably for me Friedlander and Winogrand. If you are a photographer you will probably already own a well-thumbed copy of ‘The Americans‘; if not, rush out and buy one.

In his Vanity Fair article written in 2008 about Frank’s visit to China, Charlie Leduff decribed the book as “his artistic albatross of sorts” and for many of us it stood head and shoulders above his earlier and later work.  It seemed to be a definitive statement that left him little or nothing to say.

Frank went on to make a number of films, of which the best known and almost certainly least seen is the 1969-1972 ‘Cocksucker Blues‘ of the Rolling Stones, never commercially released but which you can watch on YouTube. It’s a remarkably intimate film which epitomises sex, drugs and rock ‘n’ roll and was rather too extreme for the image that the Stones wanted to make public. The sound track includes some great music but much of the speech is for various reasons unclear and if you are not a fan of the music and the musicians the film is difficult to watch other than as a document of that particular age and time.

Some of his other films are more conventional, and perhaps for that reason less interesting. Again for fans of the beats, ‘Pull My Daisy‘ (1959) is required viewing. Directed by Robert Frank and Alfred Leslie and adapted by Jack Kerouac from an act of his play Beat Generation, it has an improvised narration by Kerouac and among others stars Allen Ginsberg, Peter Orlovsky, Gregory Corso, Larry Rivers, Alice Neel and David Amram.

Perhaps the best of the obits I’ve so far read is unsurprisingly in the New York Times, but The Guardian is also worth reading, and there a brief note on the BBC web page, and many more.

There are many obituaries of Robert Frank, and I don’t intend to write another, though I’ve previously written about him and his work at some length, though these pieces are not currently available on the web. Since this is no longer available, I’ll revise and post it, or at least some of the more interesting parts of it over the next few days.