photoshop portrait compilation

photographing eachother in 'natural poses', black and white seeming like a more 'honest fiction' in the words of Sandeha Lynch, proving something of the person that we do not see in any other photo, an unawareness of the camera and therefore a lack of calculated expression.

Kedleston Hall observations

wall of creepers that was almost the first thing I saw when we arrived at the hall on a horrible grey day, this spark of colour cheered me up.

finding interesting shapes within an interesting shape. I love the moss on the stone

spotting the next point of interest over the shoulder of the first

beautiful stonework

the only way to see into the water

cobwebby windowpane

colour contrasts

one of the chairs nobody could sit on

3d design creative processes

street photos

Joel Meyorowitz

I suddenly realized that photography was something you did physically, and there was movement to it. You didn’t have to direct your models to stop, to hold that pose, or to move their heads a little bit to the right or left: all that was unnecessary.  Robert was barely speaking to these girls: just moving around them; and every time I heard the click of the Leica it seemed almost like a seizure in time, and I couldn’t get it out of my mind. I learned that life has these little clicks in it: and you can keep moving; and as I was watching the models, I started trying to anticipate when the clicks would come, and he and I were in sync a number of times. As the shutter went off it seemed, for an infinitesimal part of a second, as if life had set itself, and then started moving again. Leaving there two hours later I couldn’t get it out of my mind; and walking out into the street, I kept seeing moments frozen in time: people sticking out a hand for a taxi, or pausing momentarily to look into a shop window, suddenly seemed framed, and infinitesimally frozen for the camera. Innocent everyday non-incidents, became stop time moments; and by the time I got off the bus at 53rd Street I was so hooked that I went upstairs and quit my job. I went straight to Harry and said “I’m going to quit this job and go out to make photographs.” - Meyorowitz quoted from http://toomuchchocolate.org/?p=147

 

These street photographs are incredibly eerie but beautiful representations of moments that would not otherwise have been captured 

The selection of 'pool' photographs I have looked at seem to me in particular to demonstrate this moving moment described by Meyorowitz here

Martin Parr

'With photography, I like to create fiction out of reality. I try and do this by taking societies natural prejudice and giving this a twist' - Martin Parr

posed?

british and seaside. very raw and gritty and unafraid of the grotesque realism

William Egglestone

Mark Holborn, a journalist for 'Aperture' notes that 'William Egglestone allows for the rebellion of the photographic eye', in the sense that 'it is the absence of the event which creates the drama'. There is not a great deal actually happening in the pictures, as in those of  Parr and Meyorowitz, but we we are still held by them, by their colours and generated feelings.