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thedirectedimagejordantane · 3 years ago

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Raymond Sagapolutele

When I was searching for a photographer that would inspire me for the type of photography that I wanted to do, I was looking for someone who delved into cultural work and capturing the essence of the culture that was within the subjects. This is when I discovered the work of Raymond Sagapolutele.

Raymond is an Aotearoa-born Samoan artist whose interest in photography did not start until 2003. Since then, photography has become his voice and connection to his culture and the Samoan way of Fagogo (storytelling). As I am wanting to connect further with my culture, I thought that he as an artist and photographer could be someone I could learn from and be inspired by.

“.... they were the images that made me go beyond just shooting what I saw and consider what it was I wanted to say.”

In an interview, Sagapolutele discussed his photography as a journey of him finding his voice when it came to the connection he had to his culture and to him it is not just the image captured of his subjects, but the story behind that.

I try and base my photography around subjects I am passionate about and the have some personal meaning to me which is why his work resonated with me as the stories Raymond Sagapolutele tells are based on his own living experiences which inevitably lead and connect him back to his culture and who his people are.

My work is not there to define what it is to be Samoan, Samoan in the diaspora, Polynesian or the wider Moana community. It’s just part of that larger tapestry that’s continually being woven and added to by all of our people.

One of Sagapolutele’s main conventions is his attitude to photography. One piece of advice he gives to aspiring Pacific photographers is to learn the basics of photography and then break every rule if you choose to. Don’t be afraid to challenge the system, especially when it comes to asserting who you are.

Sagapolutele believes that if you want to make change when it comes to traditional practices. Then you need to learn and understand them first. When you want to make change, then you have a stronger foundation from where to start. In doing this, then the stories of Fagogo can continue and the legacy can be carried forward. To honour the present, you need to honour and respect your past. This

Bergman Gallery. “Raymond Sagapolutele”. Accessed March 27 2022. https://bergmangallery.co.ck/artists/raymond-sagapolutele/ Sagapolutele, Raymond. “Out of Context”. Accessed March 26, 2022. https://www.raymondsagapolutele.com/blog/2017/4/12/j4c4aii0ze69mr66sef9vktpgwyw5l Siutaia, Hyunsook. “Sagapolutele commissioned by Auckland Festival of Photography”. https://www.samoaobserver.ws/category/samoa/64063 The Coconut tv. “HUMANS OF THE ISLANDS - RAYMOND SAGAPOLUTELE”. Accessed March 27, 2022. https://www.thecoconet.tv/coco-talanoa/humans-of-the-islands/humans-of-the-islands-raymond-sagapolutele-1/ 531 pi. “Artist and photographer Raymond Sagapolutele”. Facebook. Accessed March 27, 2022.Accessed March 27, 2022. https://www.facebook.com/watch/live/?ref=watch_permalink&v=1097485973774753

Out of Context

It was from Sagapolutele’s need and desire to not only document the generation of Aotearoa born Pacific Islanders like himself, but that also saw the conceptualisation of his series Out of Context. He also saw it as a way of sharing the stories of his people with the children of Urban Māori.

The notion was conceived after working on a project that looked at two different generations and their dancing styles. As per his conventions of drawing on his loved experiences, Raymond Sagapolutele used his mother and sister as subjects. Both were dancers, but from different generations. His mother a traditional Samoan dancer and his sister a hip hop dancer. He explored the contrast but also the grace and love between both artforms. He saw it to describe the love you can have for your parents and their culture contrasted to how the generations of today are dealing and living in more than one culture.

Out of Context is a documentary/ portraiture photography series that was Raymond Sagapolutele’s further and ongoing attempt to explore this unique generation of Aotearoa. The multiple layers of being a Samoan in New Zealand and the generation that has found themselves deviated from their national culture. One that can be compared to the colonisation of Aotearoa. Sagapolutele views this Pacific wave who were born in Aotearoa to align to Urban Māori and in fact meld to be part of the same family who feel a certain disconnection from their culture.

This series was never one that Sagapolutele felt belonged to him as he would rather the viewer connect with the subjects in the images or the content, rather than appreciating the work of ‘Raymond Sagapolutele’. He felt a duty of care in this series to capture his subjects and their stories and how they see themselves.

This is the type of series that I want to shoot as a lot of Maori and Pasifika people I know struggle with identifying with their culture. What I found from each set of 5 images was the personalities that were evident in each set.

Sagapolutele, Raymond. Out of Context - Angelo. 2017. https://www.raymondsagapolutele.com/out-of-context

Sagapolutele, Raymond. Out of Context - Rebecca. 2017. https://www.raymondsagapolutele.com/out-of-context

Sagapolutele, Raymond. Out of Context - Chris + Van + Doren. 2017. https://www.raymondsagapolutele.com/out-of-context

Sagapolutele, Raymond. Out of Context - Aisaka. 2017. https://www.raymondsagapolutele.com/out-of-context

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hillonphotography · 4 years ago

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Source magazine article about Paul Hill/The Photographers Place Archive and others

What happens to a photographer's work when they are no longer around to look after it? Following some recent cases of national institutions accepting photographer's legacies Mark Bolland examines the prospects for the archives of prints and negatives they leave behind.

What happens to a photographer's work when they die and where do the photographs go? A cynic might say that in the UK the answer is probably 'nothing and nowhere', and they would be right, more often than not. However, the acquisition by the British Library of Fay Godwin's archive suggests that this bleak prognosis isn't always accurate and some other recent examples suggest that there is hope for those who expect archives of work by prominent photographers to find their way to national collections.

In the past the V&A have conscientiously collected work by Brandt and others, although they now concentrate on contemporary practitioners as it is considerably cheaper and they have not been able to purchase work at auction since the mid-90s for similar financial reasons. On the other hand, in the last few years Professor Paul Hill has taken the unusual step of enabling Birmingham Central Library to acquire his archive during his lifetime, and Edwin Smith's archive of 60,000 images and their copyright are now held by the Royal Institute of British Architects. Yet the record prices currently being paid for photographs and the expense and difficulty of preserving whole bodies of work, combined with a lack of policies or facilities on the part of many institutions, who are often further hampered by a lack of government support, mean that there are no guarantees about where a photographer's work will end up. This is an aspect of photographic practice in the UK that shows no evidence of coordination or strategy. To take two important figures in British photography as examples: this situation has meant that Jo Spence's archive is still looked after by her former partner Terry Dennett and Raymond Moore's archive was kept by his wife until she tried to dispose of it through an auction house. It is currently frozen in limbo due to a legal dispute.

Fay Godwin died three years ago and the British Library have now taken possession of about 11,000 of her photographs, contact sheets, negatives and letters. While she is mostly known for her poetic landscapes, Godwin also made many portraits of literary figures including Kingsley Amis, Ted Hughes and Philip Larkin. These and some accompanying correspondence between photographer and writers seem to have been instrumental in the decision to give the archive to the British Library, despite the fact that the National Media Museum in Bradford was trying to acquire the collection. Godwin's archive went to the British Library via the 'In Lieu of Inheritance Tax scheme' and is now the largest single collection that they hold. The 'In Lieu' scheme is run by the Museum Libraries and Archives Council (MLA) and is intended to save works of art of all kinds for the nation, by allowing estates to offset the value of their collections against tax. As John Falconer, Curator of Photographs at the British Library explains: 'The scheme accepts works of art or other collections and archives that are considered of national importance and the final destination of the items in question is decided by the MLA. The Godwin collection is the only archive that the Library has received via the route of the In Lieu scheme.' The MLA is the government's agency for museums, galleries, libraries and archives offering advice, support and resources. They are a non-departmental public body, sponsored by the Department for Culture, Media and Sport. Launched in 2000, the MLA replaced the Museums and Galleries Commission and the Library and Information Commission and now has responsibility for the allocation of archives and collections via the 'In Lieu' scheme.Paul Hill at the Photographer's Place sorting through the Archive prior to Birmingham Library finalising its acquisition in 2005 - Courtesy Pete James, Birmingham Library and ArchivePaul Hill at the Photographer's Place sorting through the Archive prior to Birmingham Library finalising its acquisition in 2005 - Courtesy Pete James, Birmingham Library and Archive

The literary connection may well have been a factor in deciding the destination of the Godwin archive, as the British Library photography collection mainly consists of 19th century work, most notably a large selection of work by the pioneering WHF Talbot, and is, by its own admission, 'weaker for the modern period' and generally only seeks 'to acquire material which builds on its existing strengths.' By contrast, the National Media Museum has actively sought to acquire such collections but this task is increasingly difficult in what Greg Hobson, Curator of Photographs at the NMM, describes as a 'climate where the perceived value of photography is so high'. Apart from the photography market he also cites concerns common to many such institutions, such as space and staffing, that prevent the NMM from taking whole archives 'simply because they are donated'. All of which means that many precautions must be taken before donations can be accepted: 'We have to be confident that the work is culturally valuable in the context of our collection, in relatively good condition and with provenance in particular in relation to ownership and copyright.' That the Godwin and Edwin Smith archives meet all these criteria, but still did not end up in Bradford, only proves how difficult and uncertain the process of acquiring someone's archive can be, especially in the UK.

In the absence of strong governmental support, and usually without strict or organized policies, UK institutions are reliant on photographic collections simply landing in their laps. This seems to be exactly what happened in 2007, when Penelope Smail, daughter of painter, photographer and designer Curtis Moffat, 'generously gave his extensive archive' to the V&A. In fact it was no accident that the Moffat archive went to the V&A. Moffat was an American who lived in Britain for nearly twenty years and his first wife had consulted Cecil Beaton about what to do with the remains of the studio Moffat left behind in London when he returned to America, and Beaton had suggested the V&A. Astonishingly, the V&A have almost no acquisition budget, but they do have the facilities and are well equipped to administer such donations. The Moffat collection is now being sorted and archived, and highlights of the collection were showcased at the exhibition Curtis Moffat: Experimental Photography and Design 19231935 that ran from August 2007 to April 2008. Moffat was an interior designer and society photographer as well as an interesting experimental photographer who collaborated with Man Ray, and his archive contains over 1,000 photographic prints and negatives as well as press cuttings, scrap books and ephemera. And, as in the case of Godwin, it seems that things outside photography to some extent dictated the destination of this collection: Moffat's status as a 'pivotal figure in Modernist interior design' proved key to the V&A's acceptance of his legacy, just as Godwin's literary connections were instrumental in dictating the fate of hers.Paul Hill at the Photographer's Place sorting through the Archive prior to Birmingham Library finalising its acquisition in 2005 - Courtesy Pete James, Birmingham Library and ArchivePaul Hill at the Photographer's Place sorting through the Archive prior to Birmingham Library finalising its acquisition in 2005 - Courtesy Pete James, Birmingham Library and Archive

Cases such as the legacies of Godwin and Moffat suggest the lack of a national strategy and initiative on the part of some major institutions. The Tate is vague on such issues but is in the process of compiling an acquisitions policy, and the National Archives, based at Kew, only holds material from government departments, so they have lots of photographic material but not always by recognized photographers, although there are examples: Cecil Beaton, for one, was employed by the Ministry of Information during World War Two and these photos now reside at Kew. All of which tends to make the destination of a photographer's work something of a lottery once they are no longer around to take charge. Perhaps attempting to circumvent this problem, Professor Paul Hill sold his archive to Birmingham Central Library (BCL) in 2004. But again there is more to the collection than just one person's photos. Hill's collection includes work by Strand, Weston, Brandt and others, as well as photos documenting the lectures and workshops at The Photographer's Place, the study centre Professor Hill and his wife established in 1976 at their home in Bradbourne, Derbyshire. The Photographer's Place was the first permanent residential photography workshop in the country, and hosted numerous international photographers during its twenty year existence in itself enough for a valuable and interesting archive. However, Pete James at BCL suggests that it was not the big names or just the Photographer's Place archive that interested them in Hill's collection; rather it was the completeness of a collection which contains all sorts of books, ephemera and documents that provide a 'complete picture of one person's working life in photography' at a key moment for British photography and photography education. Hill was also judicious in his choice of institution; BCL has the only national collection of photography in a public library with over two million items in its collection and has been recognized by the MLA and awarded 'designated' status by them. This means that the collection has national and international significance as a library or archive. Only 38 collections have been 'designated' nationally in 28 institutions.Paul Hill, Enoch Powell and Bubble Gum Boy, Wolverhampton, 1970 - Paul Hill / Photographers' Place Archive, Birmingham Library and ArchivePaul Hill, Enoch Powell and Bubble Gum Boy, Wolverhampton, 1970 - Paul Hill / Photographers' Place Archive, Birmingham Library and Archive

There are, of course, examples of British institutions actively acquiring work by British photographers, of which the V&A's close ties to Bill Brandt is perhaps the best known. Having first bought 26 of Brandt's nudes in 1965, the V&A bought 201 more photographs by Brandt in 1978. Various others have been given as gifts since his death in 1983, and in 2003 they acquired two albums from 1928-39 compiled by Brandt's first wife containing some 400 photographs, mainly his early experiments.Paul Hill sorting through the Archive - Courtesy Pete James, Birmingham Library and ArchivePaul Hill sorting through the Archive - Courtesy Pete James, Birmingham Library and Archive

Such enthusiasm is rare though, and the haphazard ways in which the destinies of photographer's archives are decided has led one photographer to attempt to tackle the issue. Jem Southam has been making enquiries about this for three or four years now, meeting with a wide range of people connected to photography and discovering that there are 'no plans, no clear thinking and no policies' to deal with this in the UK. He suggests that the clearest example of how little interest people have taken in this issue in British photography circles can be highlighted by a comparison between the varying fortunes of two photographic legacies. One comes from the English Landscape photographer James Ravilious son of the artist Eric Ravilious who took over 80,000 images of rapidly disappearing rural life in Devon from the early 1970s until his death in 1999. The other is the American pioneer of colour landscape photography, Elliot Porter. Porter's estate was bequeathed to the Amon Carter Museum, Fort Worth, Texas where it is housed in a centre that cost 25 million dollars; while Ravilious' legacy, although it is being properly looked after, is currently awaiting a permanent home in North Devon Records Office.The Paul Hill Archive on arrival at Birmingham Library - Courtesy Pete James, Birmingham Library and ArchiveThe Paul Hill Archive on arrival at Birmingham Library - Courtesy Pete James, Birmingham Library and Archive

Southam is putting together a research group to attempt to ensure that the same thing doesn't keep happening. Examples of how legacies are handled in the United States, where these things seem to be much better organized, may point to some answers. As may other fields, such as literature, where there is already an acceptance of the various issues, be they legal or practical, that institutions with an interest in archives of historical significance cannot ignore much longer. Jem Southam's research and Paul Hill's example suggest that it is not just institutions that must start taking more responsibility when it comes to legacies, but also photographers and artists themselves, who's job it is to organize their own work during their lifetime so that it is useful, useable and manageable when they are gone. Perhaps greater awareness of such issues on the part of institutions and practitioners will ultimately lead to not just to better practices, but also to a UK equivalent of the University of Arizona's Centre for Creative Photography, which houses over fifty archives by Adams, Weston, Callahan, Winogrand and other luminaries of US photography. This though, is a long way off.

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3rd-year-uos · 4 years ago

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MAJOR PROJECT PROPOSAL and SCHEDULE

Background information including justification for your Major Project theme selection

The Justification for choosing the theme of the natural world for my Major Project is an interest in the East Anglian coastline in particular and visiting the multiple different beaches during the lockdown in the summer of 2020. This will be centered around the depiction of landscapes and seascapes in my work.

The theme of my work will be the natural world, however this will be based primarily on looking at how the natural world can be represented with a completely manmade object, such as an iPad.

During the first and second year of my degree I was most interested in the Lens Based media taught modules and this is an area of art that interests me the most and sparks the most creativity for me. I want to be able to develop my digital art skills and discover new processes and acquire new skills through my practice. Therefore for this module I have purchased an iPad pro to enable me to use lots of different features to create art digitally in situ and back in the studio as with this iPad you can draw on the iPad which is great rather than having to use software like photoshop which is more of a desk top computer based program.

The Project

For this project I have decided to explore the natural world and this will be in the form of natural ‘scapes’ such as seascapes and landscapes of the East Anglian coastline. This will be conducted through the medium of digital art and will encompass a range or different digital art techniques such photography, 2D Digital painting, Digital collage in my experimentation. I will use my own photography as a primary resource and also digital sketches made on my iPad to create final images/ pieces from.

I will visit different locations along the East Anglian coastline and take photographs of the ‘scapes’. Then create digital artworks from the photographs I have taken as primary resources. As this is an area of art that I haven’t worked with extensively before, there will be a lot of learning new skills and experimentation to develop new techniques for myself to utilise to the best of my ability the apps I will be using.

I will be exploring a range of artists to include both digital artist to research and explore the techniques they have used in their work but also landscape and seascape artists to research composition and colour for my own practice.

Some of the digital artists I am interested in are David Hockney. Although he is not typically categorised as a digital artist Hockney made a series of work in 2008 using an iPad as the medium. These works consisted of Landscapes, Portraiture and Still Life; this is of interest to me to research as this is the same process I wish to explore in my own practice. Another artist of interest would be Nik Ainley for his use of colour in his illustrations incorporating 3D text and Jason Naylor for the same reason. Also, Olly Moss as he creates illustrations digitally often incorporating the natural landscape with a reduced colour pallet which I would also like to experiment with.

Some of the ‘scape’ artists I am interested in looking into range from more traditional artists such as J.M.W.Turner who is renowned for his expressive use of colour in his landscapes and seascapes. Also, the artist John Constable who was from Suffolk and painted landscape paintings of the local area. More modern artists from the 21st century that are of interest are people such as Samantha Barnes a painter, who is also based in Suffolk and paints abstract seascapes on canvas using lots of block colour. Garry Raymond Pereira is an artist exhibiting in Cambridge in October 2020 this is an exhibition I will be going to visit to see his seascapes and landscapes in person, in a gallery setting.

I will be recording my artistic progress in the form of a blog on Tumblr. This blog will equate to the required 80 pages (160 sides) of A3, my blog will include visual experiments, development and written reflections / evaluations and final creative outcomes. My blog will equate to the same as a physical sketchbook. I like the idea of using a blog particularly for a project that I have based upon digital art, to me it would seem to be rather contradictory to my practice to then research and document my process and progress on paper.

Outcomes

The outcomes of my work in this module will be a series of pieces. I will have between three and ten images/ animations at the conclusion of this module. I will present these digitally either through the medium of video or still imagery on a selection of screens with appropriate lighting or back lighting. I anticipate these pieces of work to be on the more abstract scale.

The reason for presenting my final outcome of work in a digital format is to preserve the colours that would not be fully recreated if the image were to be printed. Also, some are likely to have elements of movement in the form of animation and this could not be represented on paper, for uniformity all the pieces, whether still images or animated, will be presented digitally.

I would like to incorporate some of the natural landscapes into the presentation of my final images by having the screens resting on either chunks of grass or rock that has been depicted in the corresponding piece of art that I have created digitally to have the comparison and create a metaphor for the natural world supporting the digital world or vice versa. Therefore, I anticipate the work to be categorised somewhere between digital art and installation art.

Proposed Research Sources (Harvard Format)

Mount, N., Harvey,G., Aplin,P., Priestnall,G. (2008) Representing, Modeling and Visualising the Natural Environment. CRC PRESS.

Warnke,M. (1996) Political Landscapes: The Art History of Nature(Essays in Art and Culture). Harvard University Press.

Brooker,S. (2018) Essential Techniques of Landscape Drawing Master the concepts and methods for observing and rendering nature. Watson-Guptill Publications.

Sum,B., Safadi,S., Hopkins,L. (2013) Digital painting techniques. 3DTotal Publishing.

Benjamin, W. (First edition 1936) (2008) The work of art in the age of mechanical reproduction. London: Penguin.

Hughes, P. (2015) Exhibition design: an introduction. 2nd edn. London: Laurence King Publishing.

Wagner,D. (2016) Environmental Ideology in Art TEDxMHK. Avaliable at: https://www.youtube.com/watch?v=Lqjgs6b8XPU (Accesses: 06/10/2020)

Key Considerations and requirements including Materials and Costings

The key things I must consider are any limitations coronavirus might bring such as lockdowns where I possibly would not be able to travel to the coast to take photographs for primary research.

The materials I will be using will be minimal as my work will be all digitally based. An iPad is essential to the type of art work I want to create primarily using an app called Procreate and the use of an Apple Pencil. All of the photography will be taken on an iPhone or iPad or a Samsung NX1000 camera and kept in a digital format therefore there is no cost for printing either. I will also experiment with a Polaroid Fujifilm Instax Wide 300 Instant Camera. There will, of course, be a small cost for film for the Polaroid camera, approximately 80p per image.

Costings for my work are initially quite high to buy a new iPad and accompanying equipment I will require is a cost of £1450. Any apps or computer programmes that I will require to carry out my art work may incur an additional cost.

I anticipate that my work will be displayed digitally therefor there will be no cost of printing for the final piece however their may be a cost for screens or additional digital apparatus that I use to display my images with on at completion of the module.

Schedule / Semester 1

24/09/20

Think about the theme for this project and decide on what medium to focus on

Note taking, internet for research

01/10/20

Exploring seascapes and taking photographs to use as primary sources from Aldeburgh

iPhone/iPad/camera to take pictures on

08/10/20

Artist research – Visiting the exhibition of work by Garry Raymond Pereira

iPhone/iPad/camera to take pictures on, note taking

15/10/20

Artist research, sketchbook/blog work

Tumblr blog

22/10/20

iPad arrives! Set up and get to grips with how it works

iPad and supporting apps

Reading Week

05/11/20

Learning new techniques and art processes

iPad and supporting apps

12/11/20

Learning new techniques and art processes

iPad and supporting apps

19/11/20

Exploring seascapes and taking photographs to use as primary sources

iPhone/iPad/camera to take pictures on

26/11/20

Learning new techniques and art processes

iPad and supporting apps

3/12/20

Artist research – visiting the Tate Britain Exhibition to view work by J.M.W. Turner

iPhone/iPad/camera to take pictures on, note taking

10/12/20

Exploring seascapes and taking photographs to use as primary sources

iPhone/iPad/camera to take pictures on

21st December – 22nd January

Christmas Break

Schedule / Semester 2

28/01/21

Create artworks

iPad

4/02/21

Self-critique of work thus far

11/02/21

Create artworks

iPad

15th – 19th February

Reading Week

25/02/21

Exploring seascapes and taking photographs to use as primary sources

iPhone/iPad/camera to take pictures on

04/03/21

Source screens and other equipment I will need to exhibit my work with.

11/03/21

Finesse final image selection for final piece to exhibit

iPad

18/03/21

Think about the resources I will need to present my final piece

Screens, lighting, background area

25/03/21

Prepare the space in which I will exhibit

Paint to create a clean, fresh space for my work to be exhibited.

29th March – 16th April

Easter Break

22/04/21

Set up final piece

Screens to display my work on, cables and electrical points, safety equipment to make the area safe for people to view to tidy away all cables etc. supporting work to be displayed in the form of my blog.

29/04/21

Review exhibition

6/05/21

Take down final piece

To remove all apparatus that has been used in the installation of my work.

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criticalframeworksmclain · 5 years ago

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Raymond Depardon

Raymond Depardon is a primarily self taught French photographer. He has focused on travel, documentary and reportage photography and is a Magnum photographer. In 1977 he received a Pulitzer Prize for his work in conflict torn Tchad. His depiction of Glasgow in the 70s is a stunning document of a formerly vibrant industrial city at its nadir.

Instagram: @rdepardon

Website (via Magnum): https://www.magnumphotos.com/photographer/raymond-depardon/

Element of this artist’s work would I like to internalise: Radical realism

Image that inspires me (©Raymond Depardon):

Critical Frameworks Explored: Documentary, Drawing

Other Resources:

IMDB Entry: https://www.imdb.com/name/nm0220019/

Wikipedia Entry: https://en.wikipedia.org/wiki/Raymond_Depardon

Video Profile on The Art of Photography Channel: https://www.youtube.com/watch?v=HFB28Vtiq9s

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mastersvisualjournalmclain · 5 years ago

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Raymond Depardon

Instagram: @rdepardon

Website (via Magnum): https://www.magnumphotos.com/photographer/raymond-depardon/

Element of this artist’s work would I like to internalise: Radical realism

Image that inspires me (©Raymond Depardon):

Other Resources:

IMDB Entry: https://www.imdb.com/name/nm0220019/

Wikipedia Entry: https://en.wikipedia.org/wiki/Raymond_Depardon

Video Profile on The Art of Photography Channel: https://www.youtube.com/watch?v=HFB28Vtiq9s

#street #magnum #colour #french #glasgow #70s #documentary

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nicordes · 6 years ago

Photo

Dreamland, Margate (v) Final 4 images from 1 roll of film from 2003. Seaside: Photographed opens at The Turner Gallery tonight. Look out for the photography of Raymond C Lawson. #seaside #dreamlandmargate #england #boys #fun #themepark #streetphotography #seasidephotographed ##35mmfilm #backintheday #2000s (at Dreamland Margate) https://www.instagram.com/p/Bx1WwNklE5d/?igshid=5661dve5lzdb

#seaside #dreamlandmargate #england #boys #fun #themepark #streetphotography #seasidephotographed #35mmfilm #backintheday #2000s

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galleryyuhself · 6 years ago

Photo

From the Facebook page of Judy Raymond~ Trinidad and Tobago Guardian Editor Can’t believe yet that Andre is gone. I’m just glad the suffering of the past few months is over. He was one of the best news photographers I’ve worked with, not for technical reasons but because of his intelligence, which meant he knew what was going to happen before it happened, and made sure he was there when it did. And all those cocktail parties he went to were sources not only of friends but of information. He worked harder than he partied. If he needed an idea for what he should photograph, he read the paper: how many photographers would do that? He had his naughty ways (which made for very funny stories), but not an ounce of malice in him. He was a sweet and loving friend for thirty years and he deserved so much more than to die now.

(Photo of Andre as Mr Cool by Josh Surtees)

and from Texprint Printery Owner

Dave V Surajdeen I wrote this tribute on another group for Guardian Photographer, André Alexander: Rest In Peace André, my good friend and neighbour. For those of us who never knew, Andre was an Army veteran who then went into the media, where he not just worked, but taught as well. He was one of the “mature” photographers who quickly embraced the transition from film to digital and he took great pride in whatever he did. One time he was one of the judges for the UWI open campus photography exhibition where I taught, and was able to also give tips to the graduating class. I’ll miss you my friend. Condolences to his wife Betty and the numerous nieces & nephews who so loved him. I’m happy that Amelia & I visited not too long ago when he was at home and when she kissed him, he whispered to her “I love you”. Peace...

#Galleryyuhself/bereavement #Galleryyuhself/Photographer Andrre Alexander dies

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thomasandrepoemes · 8 years ago

Video

youtube

(via https://www.youtube.com/watch?v=VvIfEpEvLoU)

10-1-2017 SUITE AUX INTERDICTIONS DES BANDES SON SUR YOUTUBE J'AI DECIDE DE TOUT CHANGER LES BANDES SONS SUR MES VIDEOS EN PRENANT LES BANDES SONS DE BIBLIOHTEQUE YOUTUBE ET POUR VOUS AMIS INTERNAUTES JE LES PARTAGERAIENT- A VOUS DE VOIR SI CELA PEUT VOUS INTERRESSER AMICALEMENT THOMAS André 09-03-2016 MISE A JOUR CECI EST UNE APPROCHE DIFFERENTE DE LA RATIONNALISATION DE LA POESIE ET DE LA PHOTO. Martine ANCIAUX PHOTOGRAPHE D'ART,CREATRICE DE LA PHOTO-PEINTURE, Martine ANCIAUX creator of the photo painting,new art of the photo painting,art photographer,www.anciaux-photos.fr,www.anciauxmartine.com, A INSPIRE LE POETE, ECRIVAIN, AUTEUR, THOMAS André www.thomasandre.orgfree.com Ils ont voulu vous faire partager ce recueil pour montrer la puissance de l'image et la force du verbe. Par différentes approches philosophiques, ils nous montrent le talent conjugué de ses 2 arts, et nous font vibrer par la beauté des photos et l'imaginaire qu'elles dégagent, en créant des mots qui nous touchent profondément. Chansons,ferrat,aznavour, littérature,poèsie,la boétie,la fontaine,ronsard,joachim dubellay, François Rabelais,Agrippa d'Aubigné, Michel-Ange,Jean Racine,William Blake,André Chénier,Fabre d'Églantine,Jean-Baptiste Rousseau,Johann Wolfgang von Goethe,Friedrich von Schiller,Friedrich Nietzsche,Edgar Allan Poe,Henry Wadsworth Longfellow,Emily Dickinson,Lord Byron,Percy Bysshe Shelley,Marceline Desbordes-Valmore,Alphonse de Lamartine,Alfred de Vigny,Victor Hugo,Alfred de Musset,Gérard de Nerval,Théophile Gautier,Leconte de Lisle,Théodore de Banville,josé-Maria de Heredia,Sully Prudhomme,Charles Baudelaire,Paul Verlaine,Arthur Rimbaud, Maurice Maeterlinck, Joris-Karl Huysmans,Emile Verhaeren,Oscar Wilde,Alexandre Pouchkine,Bertolt Brecht,Rudyard Kipling,Pablo Neruda, Federico García Lorca,Vicente Aleixandre, Paul Claudel,Francis Jammes, André Spire,Paul Valéry, Charles Péguy,Anna de Noailles,Max Jacob,Francis Picabia,Guillaume Apollinaire, Jules Supervielle,Blaise Cendrars, Saint-John Perse,Paul Morand, Pierre Reverdy, Jean Cocteau, Pierre Seghers, René Char, Paul Éluard,Antonin Artaud,André Breton,Louis Aragon Léopold Sédar Senghor, Aimé Césaire,Alfred Jarry ,Pierre Mac Orlan,Jacques Prévert, Raymond Queneau,Boris Vian Jacques Roubaud,Georges Perec Georges Séféris, Odysséas Elýtis,Lőrinc Szabó,Luigi Pirandello,Salvatore Quasimodo, Eugenio Montale, Nobel Knut Hamsun,Frédéric Mistral blogs, buzz,francophonie,rfi, ©QUAND LE MOT ET L'IMAGE SE CONJUGUENT poème THOMAS André© J'ai toujours ressenti cette certitude, La poésie, et la photographie, peuvent être plénitude. Lier ces 2 Arts, n'est pas une habitude, Cela risque de faire multitude. Pourtant dans ce livre, leur union, Semble créer une plus grande émotion, En dégageant, de plus fortes sensations, Et en concentrant, nos attentions. La poésie, se conjugue par la rime, et les accords, La photographie, elle, se développe par les décors. L'alternance de l'œil, et du verbe stimule, Notre imagination, qui vagabonde et fabule. Tout être, à besoin de rêver, Dans ce monde, si difficile à en crever. L'échappatoire, que nous offre ces belles images, Et la création qui s'en dégage, nous autorise aux voyages. translated by Google translation © WHEN THE WORD AND IMAGE TO DUAL poem © André THOMAS I always felt this certainty, Poetry, and photography may be full. Linking these two arts, is not a habit, This may make many. Yet in this book, their union, Seems to create more emotion, In reaching, more thrills, And focusing our attentions. Poetry is combined with rhyme, and agreements, Photography, she develops through the sets. The alternation of the eye and stimulates the verb, Our imagination, which wanders and fantasizing. All being, need to dream, In this world, so difficult to bursting. The loophole, we offer these beautiful images, And creating that emerges, allows us to travel.

#10-1-2017 SUITE AUX INTERDICTIONS DES BANDES SON SUR YOUTUBE J'AI DECIDE DE TOUT CHANGER LES BANDES SONS SUR MES VIDEOS EN PRENANT LES BANDE

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pohutukosplay · 5 months ago

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Happy birthday, Alex 😁 (I am posting this on July 10 on my side of the date line)

Pōhutukaryl Cosplay as Alexandra "Alex" Chen Life is Strange: True Colors

photoshoot with Raymond V Photography Wellington Cosplay Photo Fest The Soundshell, Wellington Botanic Garden ki Paekākā, Te Whanganui-a-Tara February 4 2023

buy me a Ko-Fi?

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ulkaralakbarova · 5 months ago

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Once called “Father Frank” for his efforts to rescue lives, Frank Pierce sees the ghosts of those he failed to save around every turn. He has tried everything he can to get fired, calling in sick, delaying taking calls where he might have to face one more victim he couldn’t help, yet cannot quit the job on his own. Credits: TheMovieDb. Film Cast: Frank Pierce: Nicolas Cage Mary Burke: Patricia Arquette Larry Verber: John Goodman Marcus: Ving Rhames Tom Wolls: Tom Sizemore Noel: Marc Anthony Nurse Constance: Mary Beth Hurt Cy Coates: Cliff Curtis Nurse Crupp: Aida Turturro Dr. Hazmat: Nestor Serrano Rose: Cynthia Roman Kanita: Sonja Sohn Cokehead: Larry Fessenden Captain Barney: Arthur J. Nascarella Dispatcher (voice): Martin Scorsese Dispatcher Love (voice): Queen Latifah Drug Dealer: Michael Kenneth Williams Voice in Crowd: Craig muMs Grant Mr. Oh: John Heffernan ICU Nurse: Judy Reyes Griss: Afemo Omilami Mr. Burke: Cullen O. Johnson Sister Fetus: Julyana Soelistyo Neighbor Woman: Graciela Lecube Neighbor Woman: Marylouise Burke Mrs. Burke: Phyllis Somerville Neighbor Woman: Mary Diveny John Burke: Tom Riis Farrell Arguing Russian: Aleks Shaklin Arguing Russian: Leonid Citer Man with Bloody Foot: Jesus A. Del Rosario Jr. Big Feet: Bernie Friedman Prostitute: Theo Kogan Prostitute: Fuschia! Mr. Oh’s Friend: Matthew Maher Mr. Oh’s Friend: Bronson Dudley Mr. Oh’s Friend: Marilyn McDonald Homeless Man in Waiting Room: Ed Jupp Jr. Homeless Man in Waiting Room: J. Stanford Hoffman Concerned Hispanic Aunt: Rita Norona Schrager Naked Man: Don Berry Street Punk: Mtume Gant Grunt: Michael A. Noto Bystander: Omar Scroggins Stanley: Andy Davoli Miss Williams: Charlene Hunter Club Doorman: Jesse Malin I.B. Bangin’: Harper Simon Drummer: Joseph Monroe Webb Club Bystander: Jon Abrahams I.B.’s Girlfriend: Charis Michelsen Dr. Milagros: Lia Yang Arrested Man: Antone Pagán Bridge & Tunnel Girl: Melissa Marsala Weeping Woman: Betty Miller Pregnant Maria: Rosemary Gomez Carlos: Luis Rodriguez Crackhead: Sylva Kelegian Dr. Mishra: Frank Ciornei Nurse Odette: Catrina Ganey Nurse Advisor: Jennifer Lane Newman Police in Hospital: John Bal Police in Hospital: Raymond Cassar Drunk: Tom Cappadona Drunk: Jack O’Connell Drunk: Randy Foster Homeless Suicidal: Richard Spore Fireman: James Hanlon Fireman: Chris Edwards Police Sergeant: Mark Giordano Cop in Elevator: Michael Mulheren Cop in Elevator: David Zayas Cop #1: Terry Serpico Cop #3: Floyd Resnick Surgeon: Megan Leigh Screaming Man: David Vasquez ICU Doctor: Joseph P. Reidy Urchin Prostitute (uncredited): Erica Bamforth Child Zombie (uncredited): Peju Bamgboshe Policewoman (uncredited): Carolyn Campbell Club Kid (uncredited): Michael Carbonaro Catatonic Patient in Suede Coat (uncredited): Joe Connelly Cop #2 (uncredited): Brian Smyj Film Crew: Director: Martin Scorsese Screenplay: Paul Schrader Editor: Thelma Schoonmaker Director of Photography: Robert Richardson Producer: Scott Rudin Producer: Barbara De Fina Conductor: Elmer Bernstein Co-Producer: Eric Steel Boom Operator: Louis Sabat Casting: Ellen Lewis Associate Producer: Jeff Levine Unit Production Manager: Bruce S. Pustin First Assistant Director: Joseph P. Reidy Associate Producer: Mark Roybal Executive Producer: Adam Schroeder Still Photographer: Phillip V. Caruso Music Editor: Bobby Mackston Production Design: Dante Ferretti Costume Design: Rita Ryack Set Decoration: William F. Reynolds Art Direction: Robert Guerra Hairstylist: Joseph Coscia Key Hair Stylist: William A. Farley Makeup Artist: Jane DiPersio Hairstylist: Scott W. Farley Makeup Artist: Leon Weisinger Production Supervisor: Shell Hecht Script Supervisor: Martha Pinson Camera Operator: Vincent Galindez Stunt Coordinator: G. A. Aguilar Visual Effects Supervisor: Michael Owens Visual Effects Producer: Jill Brooks Construction Coordinator: Glen Pangione First Assistant Camera: Gregor Tavenner Steadicam Operator: Larry McConkey Wigmaker: Carol F. Doran Carpenter: James Cappello Chef: P.J. Haines Driver: Carlos Bernal Set Medic: Rich Fellegara Special ...

#alcoholism #ambulance #ambulance man #based on novel or book #coma #drug addiction #drugs #dying and death #euthanasia #hallucination #hospital #illegal prostitution #new york city #night life #road trip #Teacher #Top Rated Movies

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gsquaredweddings · 5 years ago

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Trinity Tree Farm Lodge is one of our favorite wedding venues in the greater Seattle area.

Beyond the beautiful greenery outside, the white indoor space makes for gorgeous reception photos – and a perfect backdrop in case it rains, like it did for this wedding. Naon had a surprise up her sleeve for Ben – she and the best man had organized a pretend first look – you can see the great reaction below.

I asked Naon & Ben to share a few details about their relationship and their wedding day plans:

How did the two of you meet? We met online through OkCupid. Ben said hi first! His profile pic was of him holding Elsie, our cute dog. Naon of course had to respond (because of the dog!)

Tell us all the awesome proposal details. Naon was busy in the kitchen trying to get food prepped for the holidays prior to heading down to Portland to visit Ben’s family. Sunday night football was on and Ben comes downstairs with the ring. He gets on one knee and asks “Are you ready?” then asks Naon to marry him. Naon responds then asks if he was asking himself or her if he/she was ready.

Why did you choose Trinity Tree Farm Lodge for your wedding venue? Trinity Tree had the open greenery, with the beautiful white space for the reception, 2 firepits and DOG FRIENDLY!

What is your most anticipated moment of your wedding day? Our quiet moment after the ceremony while we are signing our marriage certificate.

If we were to run in to you on a relaxed day off, what would you be doing? Watching football or going out for a beer.

Trinity Tree Farm Lodge Wedding Vendor Team

Venue: Trinity Tree Farm Lodge

Hair & Makeup Blossom & Beauty

Bride’s Dress Tracy Lynn, Bellevue Bridal

Groom’s Apparel Men’s Wearhouse

Officiant Raymond V, friend of the couple

Florist Flora D’Amore

DJ Pro DJ Sound

Coordinator Blue Ribbon Catering

Catering Blue Ribbon Catering

Bartending Blue Ribbon Catering

Baker Stacy M, friend of the couple

Videographer DP Weddings

Photographer GSquared Weddings Photography

#gallery-0-5 { margin: auto; } #gallery-0-5 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-0-5 img { border: 2px solid #cfcfcf; } #gallery-0-5 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Trinity Tree Farm Lodge Wedding Vendor Team

Venue: Trinity Tree Farm Lodge

Hair & Makeup Blossom & Beauty

Bride’s Dress Tracy Lynn, Bellevue Bridal

Groom’s Apparel Men’s Wearhouse

Officiant Raymond V, friend of the couple

Florist Flora D’Amore

DJ Pro DJ Sound

Coordinator Blue Ribbon Catering

Catering Blue Ribbon Catering

Bartending Blue Ribbon Catering

Baker Stacy M, friend of the couple

Videographer DP Weddings

Photographer GSquared Weddings Photography

The One with the Fake First Look | Trinity Tree Farm Lodge Trinity Tree Farm Lodge is one of our favorite wedding venues in the greater Seattle area.

#best man first look #dog #dog friendly venue #first look #issaquah #lodge #puppy #tree farm wedding #trinity tree farm #trinity tree farm lodge

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hillonphotography · 5 years ago

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Source Magazine 55, 2008

https://www.source.ie/archive/issue55/is55feature_Mark_Bolland_07_02_26_21-02-12.php

In the absence of strong governmental support, and usually without strict or organized policies, UK institutions are reliant on photographic collections simply landing in their laps. This seems to be exactly what happened in 2007, when Penelope Smail, daughter of painter, photographer and designer Curtis Moffat, 'generously gave his extensive archive' to the V&A. In fact it was no accident that the Moffat archive went to the V&A. Moffat was an American who lived in Britain for nearly twenty years and his first wife had consulted Cecil Beaton about what to do with the remains of the studio Moffat left behind in London when he returned to America, and Beaton had suggested the V&A. Astonishingly, the V&A have almost no acquisition budget, but they do have the facilities and are well equipped to administer such donations. The Moffat collection is now being sorted and archived, and highlights of the collection were showcased at the exhibition Curtis Moffat: Experimental Photography and Design 19231935 that ran from August 2007 to April 2008. Moffat was an interior designer and society photographer as well as an interesting experimental photographer who collaborated with Man Ray, and his archive contains over 1,000 photographic prints and negatives as well as press cuttings, scrap books and ephemera. And, as in the case of Godwin, it seems that things outside photography to some extent dictated the destination of this collection: Moffat's status as a 'pivotal figure in Modernist interior design' proved key to the V&A's acceptance of his legacy, just as Godwin's literary connections were instrumental in dictating the fate of hers.Cases such as the legacies of Godwin and Moffat suggest the lack of a national strategy and initiative on the part of some major institutions.

The Tate is vague on such issues but is in the process of compiling an acquisitions policy, and the National Archives, based at Kew, only holds material from government departments, so they have lots of photographic material but not always by recognized photographers, although there are examples: Cecil Beaton, for one, was employed by the Ministry of Information during World War Two and these photos now reside at Kew. All of which tends to make the destination of a photographer's work something of a lottery once they are no longer around to take charge. Perhaps attempting to circumvent this problem, Professor Paul Hill sold his archive to Birmingham Central Library (BCL) in 2004. But again there is more to the collection than just one person's photos. Hill's collection includes work by Strand, Weston, Brandt and others, as well as photos documenting the lectures and workshops at The Photographer's Place, the study centre Professor Hill and his wife established in 1976 at their home in Bradbourne, Derbyshire. The Photographer's Place was the first permanent residential photography workshop in the country, and hosted numerous international photographers during its twenty year existence in itself enough for a valuable and interesting archive. However, Pete James at BCL suggests that it was not the big names or just the Photographer's Place archive that interested them in Hill's collection; rather it was the completeness of a collection which contains all sorts of books, ephemera and documents that provide a 'complete picture of one person's working life in photography' at a key moment for British photography and photography education. Hill was also judicious in his choice of institution; BCL has the only national collection of photography in a public library with over two million items in its collection and has been recognized by the MLA and awarded 'designated' status by them. This means that the collection has national and international significance as a library or archive. Only 38 collections have been 'designated' nationally in 28 institutions.There are, of course, examples of British institutions actively acquiring work by British photographers, of which the V&A's close ties to Bill Brandt is perhaps the best known. Having first bought 26 of Brandt's nudes in 1965, the V&A bought 201 more photographs by Brandt in 1978. Various others have been given as gifts since his death in 1983, and in 2003 they acquired two albums from 1928-39 compiled by Brandt's first wife containing some 400 photographs, mainly his early experiments.Paul Hill sorting through the Archive - Courtesy Pete James, Birmingham Library and ArchivePaul Hill sorting through the Archive - Courtesy Pete James, Birmingham Library and Archive

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sailorrrvenus · 6 years ago

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Photographer of the Day: Raymond Clarke

Category: Street Photographer: Raymond Clarke Photo: “Live, From New York” I went to New York for the first time ever in October. I attended PhotoPlus Expo, which was also a first for me and when I saw this image by Raymond Clarke I had a few thoughts. First, I miss the Big Apple and second,…

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