The Photo Collection: First Full Publication

The following photograph, taken in Soho, London at Christmas 1993 or 94, chosen for its hidden agenda.

These two homeless men were about to start kicking football around the square. I asked if I could take their photo and this was the instantaneous pose they gave me. I hesitated a moment, believing I could organise a pose more in keeping with contemporary pictures of despair and homelessness. It quickly became apparent that patience was not something at least one of them (man on left) had much to give. So I just clicked the shutter and rolled the film on. He came towards me and asked for money. I had but a few coppers and silver on me. I was quite poor myself at this time, given that Iwas undergoing an acrimonious divorce.

I felt quite threatened at this point and swiftly my hand in my pocket and grabbed what was there, dropping a 50p piece again (my return tube fare) before showing about 10 or 12p. He grabbed it and backed off again. I felt a bit better and we exchanged Christmas greetings and parted company.

This was my first and also my very last encounter as a photographer with the homeless. I’ve since come to respect their privacy, and later regular encounters as a resident in inner London, have taught me to still distrust them. No more of that now.

Homeless Pair in Soho Square, Christmas 1993 or 4. Ilford FP4 iso 125, Nikon 90. Copyright Shaun Everett 1994

I suspect these gents are long dead. Their addiction to alcohol undoubtedly saw to that. I trust they had a peaceful Christmas though and they made the best of what was left of their lives.

Homelessness is a cruel fact of societies and many photographers have attempted represented the despair. I’m thankful I did not pursue this avenue of photography, which became pastische after the 1940s.

There were though some great exponents of living poverty through the 1970s in particular. Today, camera phones are so abundant, that hardly anyone bothers to photograph the homeless in the same manner of the great photographers of the 1930s and 40s. I suspect the tables are turned somewhat, given that homelessness does not preclude the poor from owning such a device!

Robert Capa: Through the Lens of Courage and Conflict

Capa on assignment in Spain, using a Eyemo 35 mm movie camera, photographed by Gerda Taro

In the annals of war photography, few names resonate as powerfully as Robert Capa. Born Endre Friedmann in Budapest in 1913, he later adopted the professional pseudonym Robert Capa, a name that would become synonymous with bravery, empathy, and the unyielding pursuit of truth through the lens.

Early Life and Exile

Capa’s journey began against the backdrop of political upheaval. Fleeing the rise of fascism in Hungary, he found refuge in Berlin before eventually settling in Paris. It was in the vibrant cultural milieu of Paris that Capa discovered his passion for photography, a medium that would become his lifelong vocation.

US troops assault Omaha Beach during the D-Day landings (first assault). Normandy., 1944 c. Magnum Photos

In the Trenches of War

Capa’s career burgeoned during the Spanish Civil War, where he captured some of his most iconic images. His evocative photograph titled “The Falling Soldier” remains etched in collective memory, a testament to his ability to encapsulate the intensity and human cost of conflict. Capa didn’t merely observe; he immersed himself in the front lines, taking risks that few dared.

Portrait of photgrapher Robert Capa smoking cigarette, Photo by Alfred Eisenstaedt/The LIFE Picture Collection © Meredith Corporation)

Landings on D-Day: Normandy, 1944

Among his most celebrated works are the images from the D-Day landings in Normandy during World War II. Capa was embedded with the first wave of troops on Omaha Beach, producing images that conveyed both the chaos and valor of the pivotal moment. The term “If your pictures aren’t good enough, you’re not close enough” is often attributed to Capa, reflecting his commitment to proximity and capturing the essence of the moment.

Founding Magnum Photos

In 1947, Capa co-founded Magnum Photos, a cooperative agency that would redefine photojournalism. Alongside fellow luminaries such as Henri Cartier-Bresson, Capa aimed to empower photographers and preserve their artistic independence. Magnum became a crucible for shaping narratives through visuals, further solidifying Capa’s legacy.

Robert Capa © International Center of Photography Motorcyclists and women walking on the road from Nam Dinh to Thai Binh. Indochina. May, 1954. © Robert Capa © International Center of Photography | Magnum Photos

Korea and Indochina: Continuing the Quest

Capa’s dedication to documenting conflict extended to the Korean War and the First Indochina War. His lens bore witness to the ravages of these conflicts, conveying the toll they exacted on individuals and societies. His work from this period continued to reflect a deep empathy for the human condition amid adversity.

The Indomitable Spirit of Capa

Beyond the lens, Capa’s charisma and spirit were magnetic. His friendships with cultural luminaries like Ernest Hemingway and Ingrid Bergman underscored his ability to navigate both the worlds of journalism and art. His charm, combined with a relentless work ethic, left an indelible mark on those who knew him.

Legacy and Reflections

Tragically, Capa’s life was cut short in 1954 when he stepped on a landmine while covering the First Indochina War. Yet, his legacy endures in the indomitable spirit captured in his photographs. Robert Capa’s work challenges us to confront the human cost of conflict and serves as a timeless reminder of the photographer’s duty to bear witness to history.

In the world of photojournalism, Robert Capa’s legacy is not just in the frames he captured but in the courage with which he approached his craft. His life and work continue to inspire generations of photographers to wield their cameras as instruments of truth, even in the face of adversity.

Montecatini Alto in Tuscany

Deserted Villa at Montecatini Alto, Tuscany Italy (c) The author.

Vista by Cable Car, (c) The Author

Montecatini Alto is a charming medieval village located in the province of Pistoia, in the Tuscany region of Italy. It is situated on a hill overlooking the more modern spa town of Montecatini Terme.

Here are some key points about Montecatini Alto:

  1. Historical Significance: Montecatini Alto has a rich history dating back to the Middle Ages. The village’s historic center retains much of its medieval character, with narrow cobblestone streets, ancient buildings, and a picturesque central square.
  2. Panoramic Views: One of the main attractions of Montecatini Alto is its stunning panoramic views. From the hilltop, visitors can enjoy breathtaking vistas of the surrounding Tuscan countryside, making it a popular spot for tourists and photographers.
  3. Cable Car: To reach Montecatini Alto, you can take a charming cable car ride from Montecatini Terme. The cable car journey offers scenic views as it ascends the hill, providing a convenient and enjoyable way to access the historic village.
  4. Attractions: Once in Montecatini Alto, you can explore several attractions, including the historic town square, Piazza Giusti, which is surrounded by cafes and restaurants. There are also historic churches like the Church of St. Peter and St. Paul, as well as a fortress known as Rocca di Castello.
  5. Local Cuisine: The village offers opportunities to savor traditional Tuscan cuisine at its local trattorias and restaurants. You can enjoy classic dishes such as pasta, risotto, and grilled meats, often accompanied by excellent local wines.
  6. Cultural Events: Montecatini Alto hosts various cultural events throughout the year, including festivals, concerts, and historical reenactments. These events showcase the village’s rich cultural heritage.
  7. Relaxing Atmosphere: Compared to the busier Montecatini Terme, Montecatini Alto offers a more relaxed and tranquil atmosphere. It’s a great place to wander the streets, enjoy a leisurely meal, and soak up the ambiance of a medieval Italian village.
  8. Day Trip Destination: Many visitors to Tuscany choose to make a day trip to Montecatini Alto from nearby cities like Florence, Pisa, or Lucca due to its historical charm and proximity to these popular tourist destinations.

Overall, Montecatini Alto is a delightful destination for those interested in history, culture, and the scenic beauty of Tuscany. It provides a glimpse into Italy’s medieval past and offers a peaceful retreat from the bustling modern world.

Alfred Stieglitz, early 20th century art dealer and photographic master

Stieglitz in 1902 by Gertrude Käsebier

Alfred Stieglitz, a pioneering photographer and influential figure in the world of modern art, played a crucial role in elevating photography as a legitimate art form in the early 20th century. Through his innovative techniques and relentless dedication to pushing the boundaries of the medium, Stieglitz transformed photography into a powerful means of expression and opened new avenues for artistic exploration. His profound understanding of the craft and his unwavering commitment to capturing the essence of the subject matter revolutionized the field and established him as a true master of the art of photography.

Stieglitz’s significance lies not only in his technical expertise but also in his visionary approach to photography as an art form. He believed that photographs could communicate emotions and ideas as effectively as any other art form, and he set out to prove this through his own work and by promoting the works of other photographers. In 1902, he founded the Photo-Secession movement, a collective of photographers dedicated to advancing the artistic potential of photography. Through exhibitions, publications, and lectures, Stieglitz and the members of the movement sought to challenge the prevailing notion that photography was purely a documentary tool or a mechanical reproduction of reality.

One of Stieglitz’s most famous works is the series of photographs known as “Equivalents.” Created between 1923 and 1934, these images are abstract representations of clouds, devoid of any recognizable subject matter. Stieglitz saw the clouds as a metaphor for the intangible aspects of life, and he aimed to capture their ever-changing forms and moods. By stripping away the context and focusing solely on the play of light, form, and texture, Stieglitz transformed these ordinary natural phenomena into powerful symbols of human emotions and experiences. The “Equivalents” series exemplifies Stieglitz’s belief in photography’s capacity to convey the unseen and to evoke profound emotional responses.

Equivalent (1925), one of numerous cloud photographs of the sky taken by Stieglitz

Stieglitz’s technical mastery and attention to detail were instrumental in achieving his artistic vision. He was a relentless experimenter, constantly pushing the boundaries of what was considered possible with the medium. He explored new printing techniques, such as photogravure and platinum printing, to achieve rich tonal ranges and exquisite detail in his images. Stieglitz was also a firm believer in the power of the print itself as the final expression of the photograph. He emphasized the importance of the printing process, employing meticulous care to achieve the desired tonal quality and texture in his prints. Through his mastery of technique, Stieglitz was able to imbue his photographs with a sense of depth, atmosphere, and emotion, elevating them from mere records of reality to works of art in their own right.

Stieglitz’s contributions extended beyond his own photography. As an art dealer and curator, he introduced European modernist painters, such as Pablo Picasso and Henri Matisse, to American audiences and helped to establish their reputations. Through his gallery “291” and his publication “Camera Work,” Stieglitz provided a platform for artists across various disciplines, including photography, painting, and sculpture. He sought to create a dialogue between these different art forms, blurring the boundaries between them and encouraging cross-pollination of ideas. Stieglitz’s efforts to promote photography as a fine art and to bridge the gap between photography and other art forms were instrumental in the development of modern art movements in America.

Alfred Stieglitz’s legacy is profound and enduring. His relentless pursuit of artistic expression through photography transformed the medium into a respected art form and paved the way for future generations of photographers to explore the full potential of the craft.

The Political Protest Photograph as an Artwork

Cover of Camerwork Volume 8

Political photographs in museums and national art galleries are rare beasts. At least they were for many years prior to an exhibition of photographs depicting life in Britain: Who We Are: Photographing Britain at Tate Britain, London during 2007. On the tenth anniversary, which is more coincidental than pre-arranged, I publish an essay, first written in 2014 as part of my MA in History of Photography. It cultivates the notion that rather than being a rarity, th protest photograph performs a function hitherto not recognised by curators and academics alike. Namely, that the protest photograph is not just a worthy artform for wider recognition by the major galleries and museums, but also one that functions in the same way as the History painting. Examples of history painting include such masterpices as Théodore Géricault’s Raft of the Medusa (1819), Oil on Canvas, that hangs majestically in its own salon in the Musée du Louvre, in Paris. The History painting, as any self respecting art historian knows, is the pinnacle of art, from which all other forms of visual art hang their credentials. To not do so would be considered suicidal!

Given the current political environment, and the constant references to the 1970s, the essay has been reworked for publication and many thanks to my former tutor Dr Patricia de Bello, from Birkbeck School of Art History, London, for the suggestions made to improve the essay’s worth. She has no doubt forgotten that she ever gave me any advise, but what stuck in my mind for the last 4 years, was that the essay would eventually be worthy of publication. I am of course, too old to revisit academia and the pitfalls of journal publication, so I have added it here on my blog for all those readers willing to take time to read it.

Go HERE for the article

Art Installation: The Rising Tide

On the south bank of the Thames in central London, Jason deCaires Taylor has created this sculpture. Accessible at low tide, but submersion at high tide is also as spectacular. Here’s some photo I took at the weekend:

RSPB Wallasea Island

Went to Wallasea Island in South Essex today. I will report on the changes at RSPB soon, but here’s a single picture from one of the local creeks.

 

Wallasea Island, Essex, Shaun Villiers-Everett July 2015

What’s Up? From Welling Riots to Scoping!

Absolutely nothing really, it’s just I haven’t been on here in over a year! Time flies so fast, blink and I missed it! I’ve nearly finished an MA dissertation and that has kept me busy for the last three months, but there’s no excuse really, you can always find time to write something.

I’ve discovered Periscope and it has distracted me from my tasks of recent days. I’m wondering where it is all going. Is this the REAL death of photography, not the death I write about in academia. I don’t think so, I believe the lens is as powerful (pun intended) as it was in the days of Hine documentary photographs or the Farm Administration photographers in the 1930s USA. In fact, I’ll go so far as to say it is more powerful, more politically charged right now than at any time in the last 150 years of the photograph’s existence. It just needs manipulation that’s all. Rant over.

I should finish with a photograph I suspect.

 

  I’ve often wondered ‘who is this old soldier?’

This was the Welling riots of late 1993, when the ANL marched on the BNP, then headquartered in Welling, South London. The police, determined to prevent that happening, stopped them in their tracks about 500 metres from their target. It was never going to happen though, the police lines were so rigid and well defended. Several horse charges later and this is what happens in such chaos. All of a sudden from the midst of chaos came this old gent, resolute and determined to have his say. Holocaust survivor maybe? WWI veteran possibly, but I never saw him again that day to ask him his story. But, his story is every reasonably minded citizen’s story isn’t it? The evil of BNP may have left Welling shortly afterwards, but their doctrine never changed. A broken force in 2015 maybe, but another will emerge from the darkness one day to spout the same racist evil, be assured of that.

Do photos have an indexical reality still? Yes, of course they do, you just need to know how to say it, how to read it and how to broadcast it. Periscope has the hallmarks of a powerful tool for the future, let’s see how it pans out (pun intended again!) and let’s not ruin it this time with some art junkie trying to make money for nothing.

 

Back to My Pics! Burnham-on-Crouch, Essex

I snapped this river dwelling on the river Crouch at Burnham in Essex on the weekend of the local regatta (Burnham Week). The regatta was almost cancelled completely due to high winds and storms. You can see how much more dramatic it makes a monochrome (sepia) print. Taken on Ilford HP5 film due to the overcast skies and fast moving clouds.

Burnham on Crouch, River Crouch, Burnham Week, 1994, River Dwelling. Copyright the author 1994. Ilford HP5

London2012: Olympic Park Distractions

The Olympic park is huge. It is though nothing more than a pathway to and from the various venues around the site. You could walk it or hitch a ride on one of the buggies if you were lucky. Certainly the only way round for families, etc.

In between though there were distractions other than the successful Park Live big TV screens. You could spend money or just take in the sights. be warned there are few sun and rain shelters. Well actually there are none of those!
Wear sensible shoes and take an umbrella.