Posts Tagged ‘photo gallery’

I wrote an entry for this blog a few months ago to commemorate the anniversary of Elvis Presley’s death ‘Elvis from the Beginning’. The photographer; Albert Wertheimer, whose pictures I wrote about, is now showing a selection of his photographs of Elvis from the same period at an exhibition at Proud Chelsea in London.

One of the many auspicious things about these photographs is that they have never been shown in this way in the UK before.  Another is that the new Proud gallery chose to open with this exhibition, which to me, re-affirms Presley’s legend.

These candid shots of Elvis were taken during a time before the Colonel Tom Parker, his manager, put restrictions on the photography of his charge.  Later, only approved and carefully managed publicity shots of Presley were made available for publication – leading the way for the management of today’s celebrities who constantly control the image of their stars.

These photos show that Elvis did not begin his career as the product of a svengali, revealing that he had his own unique style, was charismatic beyond belief, and that his ‘act’ was not something that was cultivated, but sheer, raw talent.

In later years, Elvis was portrayed as super-human and untouchable.  He was trapped in his fame rendering him unable to walk down the street – unless he was in disguise.  So these shots of him as a ‘normal’ person eating in a diner, travelling on a train with the rest of the public, standing on the street outside his hotel, and intimate shots of him at home with his family are fantastic.  The fact that he was so photogenic, make these shots even more enjoyable to look at.

The exhibition runs from 18th November until 31st January.

Post written by Nicola Charalambous (Picture Editor of PA Photocall)

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I have been reading ‘the fat baby’ a collection of stories by acclaimed photographer Eugene Richards who has worked for Life, Time, Newsweek, and Esquire. He is a photojournalist in the truest sense of the word in that he writes how he feels and photographs what he sees putting them together into a story that makes you feel as if you were there. With Richards’s subject matter and style this is very rarely a comfortable feeling, his subjects ranging from mental institutions in Mexico, to conflict hospitals in Bosnia to drugs and gangs on the streets of America.

Richards get very close to his subject matter and his stories are intimate and intensely personal, this is what makes his photography so special. He gets so close to the situations that he is photographing that you have feeling that his subjects no longer know he is there. Strangely this intimacy with his subject allows his photographs to remain completely detached, snapshots of lives lived neither judged nor filtered by his lens. 

Eugene Richards is a photojournalist but this book does not contain any news photography, the assignments that he has compiled in this book cover some of the biggest events in world news but he never photographs the events themselves. However it is journalism, he is showing the truth of the lives that lie behind the sensation without cliché something that is very rare and very refreshing if hard to look at. 

Richards’s style has really inspired me to try and avoid the temptation to set up too much of the photography I do, to stand back from my subject and wait for a natural reaction. The candid rather than the contrived pictures are so often the best shots you get from an assignment. 

http://www.eugenerichards.com/

Post by David Parry (PA Photocall photographer)

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I stumbled across a lovely little exhibition at the National Portrait Gallery last week of Barry Feinstein shots from Bob Dylan’s 1966 European Tour.

Feinstein had taken the classic cover portrait for Dylan’s 1964 ‘The Times They Are A-Changin’ so he was invited to be Dylan’s official photographer for his first electric European tour.

 He had complete access to Dylan & his band photographing dozens of shows, but it’s his ‘behind the scenes’ shots that are by far the most interesting. Here we see a private glimpse of Dylan finding his way through the rock star tour routine of hotel rooms, sound checks and travel, emerging as more than the niche folk artist a lot of his original fans wanted him to remain.

Feinstein photographs Dylan surrounded by raggedy kids in Liverpool, striding like a Pied Piper along Edinburgh’s Princess Street, buying boots in Carnaby Street, taking a train from Dublin to Belfast and standing on the quayside wearing shades in the rain waiting for the for the River Severn Ferry.

 An American music symbol set apart in a post-war Britain that looks like another country, bereft and grey.

Dylan has always been different things to different people; folk and rock; star and recluse. In these shots somehow Feinstein captures the enigma, frames it for posterity, for us to take our own meaning. We stare at the icon we know photographed in places we know, but in reality we don’t know either, the moments have passed. But great photographs like this embrace their time and place and make something more from it. Times maybe a-changing but the photos don’t.

http://www.barryfeinsteinphotography.com/index.htm

Post by Tim Kerr (Director & Picture Editor of PA Photocall)

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Rankin is a top name in the subversive stream of British fashion photography. Rankin Live is a unique exhibition on display at the Old Truman Brewery in London and gives the public the opportunity to be featured within the work themselves. The exhibition has two separate areas, Rankin Retrospective and Shoot Men, Rankin.

The exhibition looks back at Rankin’s prolific career, from his more commercial work to his more intimate shots. And the co-founders of Dazed & Confused magazine show us a varied selection of photos of Kate Moss.

The exhibition taking place until 18th September made me consider the variety and creativity that Rankin brings to every portrait shot he produces. He rarely, if ever regurgitates the same dull front on image, which lead me to think there is no excuse these days for your business portraiture to do the same. From the outset you may think the only back drop to use is an office with your CEO sat at their desk, but when taking corporate images you want to capture the personality of your business and the people within it, the same way Rankin captures the personality of his subjects.

Jodie Kidd reveals the new World Polo series trophy. John D McHugh/PA Photocall

Jodie Kidd reveals the new World Polo series trophy. John D McHugh/PA Photocall

Not everyone is a fan of having their picture taken, which can result in a stiff almost uncomfortable image being produced. You need to be able to rely on a professional photographer to make your subject feel relaxed and at home in their surroundings. Using an outdoor location can break up the generic shots or even a behind the scenes location will be more interesting to your audience.

Mayor Boris Johnson on the London Eye for the launch of the Visit Britain campaign. Carl Court/PA Photocall

Mayor Boris Johnson on the London Eye for the launch of the Visit Britain campaign. Carl Court/PA Photocall

It is good to remember that people buy people so achieving great professional corporate imagery for your business can be one of the key elements to increase sales and notability in a socially media driven world. A nice, clean relaxed profile picture can be the difference between just your friends and family following you on Twitter or a whole new world of potential business. 

Post by Penny Joyner (Marketing Executive for PA Photocall)

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I previously wrote a post ‘Real Life Fashion’ and today, I received my long-awaited copy of ‘The Sartorialist’ – Scott Shuman’s debut book containing the images of stylish people from the world’s streets that he has shot for his blog.

Although these pictures are available to view online, I do prefer holding the book and physically flicking through to stop at eye-catching shots and then returning to learn about the people in the shots.

 One such flick involved a shot of a rather dapper man who was spotted in Harlem.  I thought the story behind his suit was quite extraordinary and very amusing. 

When asked about his suit, Shuman had expected the man to say that he’d had it for ages, instead he told of how 10 years ago he had been a drug dealer and when one of his customers couldn’t pay up, she threw the suit at him as payment. 

A recent post on his blog cites who his influences are – among them, Steve McCurry – the celebrated photographer who gave us the ‘most recognisable photograph in the world’.

Looking through McCurry’s shots from India, Afghanistan, Africa, Cambodia – one of the things that leaps out at me are the colours that are so vibrant and eye-catching, they become part of the detail rather than just part of the environment.

Another influence is the German photographer August Sander, whose shots are of the people he encountered on a daily basis. Sander’s shots are not of stylish passers-by, but of people from all walks of life. 

Although Shuman’s pictures seem to be of the bold and the beautiful, there is a great deal more to them than meets the eye.  They are of people that he has encountered on his travels; attracted by uniquely dressed individuals – whether they ooze style and elegance, just look good or give us the impression they have a great story to tell! 

 

Post by Nicola Charalambous (Picture Editor for PA Photocall)

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Andre Kertesz was one of the most influential photographers of the 20th century. Working as a war photographer in his native Hungary he later moved to Paris. Here he became part of the emerging Dada movement, an originator of what became known as ‘street photography’ and a mentor to Henri Cartier-Bresson, Robert Capa & Brassai. He relocated to New York prior to WWII where he remained until his death in 1985 originally working as a commercial photographer for Conde Naste before returning to the artistic work that had originally made his name in Europe.

One strand that ran throughout Kertesz’s professional life was a fascination with people reading. It’s these photos that form ‘Andre Kertesz: On Reading’ currently showing at The Photographers’ Gallery in London. In the week following the demise of the London Paper & continued debate on the imminent death of print, it’s refreshing to see our inherent connection with the printed word captured so visually.

In Kertesz’s pictures, individuals hunch over books on the street, in libraries, in circus changing rooms, Caribbean dorm halls, New York rooftops, all absorbed in the thirst for knowledge, information or entertainment.

Some reviews see this as a exercise in nostalgia for a passing ritual. I’m not so sure. Kertesz’s photos seem to capture something more than the medium. Substitute a blackberry, a laptop or an ereader for the paperbacks, comics & newspapers and the connection remains. Great photographs like Kertesz’s tell us more about ourselves than we know & perhaps in the parks, the fire escapes and the rooftops Kertesz showed us whatever happens the act of reading itself will remain more important than how we’re going about it.

Post by Tim Kerr (Director and Picture Editor of PA Photocall)

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 I watched the new film ‘Moon‘ over the weekend. A great film in it’s own right. From a photography point of view it also reminded me of the wonderful photo exhibition and book ‘Full Moon‘ created by US artist Michael Light in conjunction with NASA 10 years ago for the 30th anniversary of the Apollo missions.

Shown at the Hayward Gallery in 1999 and again earlier this year at the private Atlas Gallery, in it’s best moments the photos, like the Duncan Jones film, capture the human content, the workmanlike details of the project and the inherent lonesomeness at the heart of the drama.

In Michael Light’s photo selection the astronauts are humanised. Shown in their dark cramped industrialised pods resembling otherworldly unshaved miners or oil platform workers rather than futuristic sci-fi heroes.

Like Sam Bell supervising the energy harvesters alone in ‘Moon’ the sense of isolation hovers amid the bare mechanisation. From taped up family snapshots and post-its, to glimpses of home through observation hatches, the camera records the lingering loneliness of distance.

 

Amid the real dramas of the Cold War space race the photos of ‘Full Moon’, show most when they show us. Look through a newspaper & no matter what the story nearly every picture you see will have a human element. It gives reference and scale but most importantly it helps us connect with the image.

 

News, like the history it creates, is about people. Even within the scale of the Apollo missions, what resonates most is not the rockets or the stars, but the humans behind the visors, the men flung hundreds of thousands of miles from home. Michael Light’s project captures the men who looked into the future for us, but also found the time to glance back.

 
post by: Tim Kerr (Director & Picture Editor for PA Photocall)

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