I saw this photo, week ending Sun., Dec., 9 2007

David & Sue Lindley (roadtonowhere photoblog)

In particular this one 'Whitstable at Dawn':

http://roadtonowhere.my-expressions.com/archives/3294_1894789097/108156

I have long admired David and Sue Lindley's work technically and artistically - and this photo is superb. It depicts the beach at Whitstable (north Kent, Britain) deserted on a cold winter morning. Perfect.

But for me, it also brings back memories of almost buying a small cottage just out of the photo many years ago. Then Whitstable was a bit down, now it's super trendy and 'my' modest cottage is most likely guest accommodation for an upmarket hotel.

Astoundingly although I look at heir photos often I found this one for the first time only yesterday.
 
sitemistic said:
An initially ambiguous image from David Allan Harvey's blog. Really like this one.
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Thank you.

I'm not at all familiar with his work, and this photo prompts me to get to know his photos better. I have a good feeling I'm going to enjoy them.
 
nksyoon said:
I received a book by Marcus Bleasdale last week - "One Hundred Years of Darkness" about the Democratic Republic of Congo (fka Zaire). Plenty of memorable pictures - I have to go through the book again.

Here's a slideshow:
http://marcusbleasdale.com/one-hundred-years-of-darkness/

#7 is one that sticks in my mind.
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WoW, thanks for the link. I'm stunned and I hardly find my words to describe how I feel ... just wow. That's all I would like to be able to do with a camera. Travel, meet people, make them friends, shoot, tell the story for human beings, at least on page of the great book.
PS: I was on the other side of the river Congo, in Brazzaville; this report touches me deep inside. Again, thanks for the link.
 
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robert blu said:
I saw this one, from Filip Schneider, Praha http://www.ball-saal.com/MainPage/Photo.php?ID=5614, simple, and the combination of colours + the expression of the eyes give a real soft mood. Not shouted.
@ steve litt: thanks for the nice link: a few years ago I took part in a workshop wih steve and I'm as well a fan of Patty Smith !
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That is such a good photo which must have been made in just an instant as the train/tram/bus stopped for a few seconds.

To see and to make this photograph just right demands considerable skill.

I love it.
 
http://davidalanharvey.typepad.com/photos/uncategorized/2007/11/26/l1010393.jpg
this harvey's image has a strong blue shade: in my view blue is a colour related to a spirirual experience. The diagonal gives a dynamic feel, which in conjunction with the girls, whose head is not visible gives me a sense of no stability. On purpose I did not check (yet) the Allan blog, I just try to react to this image for what I see in it . But now it is difficult, i have to think about. Maybe it s only a picture of a unknown girl in a disco-pub...
robert
PS it s my birthday and I promized my wife not to spend too much time in front of a computer tonight..
 
nksyoon said:
For those who haven't read Joseph Conrad's "Heart of Darkness" (also inspiration for "Apocalypse Now"), ...
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and iirc, Herzog's Aguirre:The Wrath of God influenced Apocalypse Now. Aguirre has a similar thematic/narrative vehicle, the travel up a river... anyway, thanks for the link. There are some great images there.


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Slate / Magnum today at:

http://todayspictures.slate.com/20071211/

Today's theme is 'Tea Time', and of the 19 photos I especially like number 5 and 6 (by George Rodger). Two British civil defense people sharing tea while dressed in their regular clothing plus just an insignia and a tin helmet. And a group of people waiting for tea in the street.

I think these photos sums up the British attitude to the 1939-45 war better than many others I've seen.
 
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the Kennerly picture http://www.digitaljournalist.org/issue0712/z_kennerly32.html proposed by formal is relaxing and let me smile: in a world full (unfortunately) of dramatic images it is like a breath of fresh air.
Tea time ? N° 12, by Martin Parr has an irresistible (not sure it is the correct word) attraction for me. The way tha the living subject is confronted with the painting.
robert
 
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