Crude Metaphors

Sam Contis: Deep Springs

  • THIS MUST BE THE PLACE “I remember being stunned at the New York skyline as I drove over this big freeway, coming across the flats in Secaucus,” wrote Hunter S. Thompson in his 1990 book Songs of the Doomed: More Notes on the Death of the American Dream. “All of a sudden it was looming up in front of me and I almost lost control of the car. I thought it was a vision.” New York City holds an almost mythical status for most, as a sprawling metropolis that is one of the most culturally distinctive and ethnically diverse cities in the world. With some 12 million immigrants arriving to the city by way of Ellis Island, infinite great stories have unfolded there. In many films, and works of [...]

  • Mike Brodie hopped a freight train to Jacksonville when he was seventeen. He had with him a Polaroid camera, and not a lot else. Ten years on and 50,000 miles later, Brodie has taken over 7,000 images (mostly 35mm) of his life riding the trains and sometimes the roads, photographing his fellow travellers as they criss-cross America. A small selection of these images are presented in a fine book published by Twin Palms entitled, A Period of Juvenile Prosperity.  Brodie’s photographs are of itinerant life - guys and girls clambering into box cars, swinging between carriages, foraging for food, ducking the cops and dossing down. Sporting [...]

  • Turning the pages of the river WINTER is like the rhythm of footfall on a solitary, meditative, hibernal walk. Jem Southam, the renowned British landscape photographer, arranges forty images in date order which, as the caption explains, “follow the passage of a single winter 2010-2011 along stretches of the Exe river and its tributaries in Devon, England”. All the photographs are of water and sky, earth and trees. The palette is blues and greys, browns and greens, and when ice and snow cover the ground, the colours become half tints and tones. There are no people and no wildlife in these images a trace of wire fencing and a mooring pole the only indication of the presence of man. A date is attributed to each image, yet the feeling of the [...]

  • HOTSHOE:  To begin with, how did you make the photographs?Anthony Carr: In terms of technique, I mostly use homemade pinhole cameras and film. The cameras are fashioned from old 35mm film canisters so they are nice and discreet which means I can leave them all over the place for long periods, knowing most of them won’t be discovered. It also means I’m able to install them in some strange nooks and crannies. This helps me to get some interesting viewpoints and also explains the strange perspective in some of the photographs due to the curved film plane of the canisters. The other essential element in the majority of my work is an elongated or extended exposure time. These particular photographs were created over 4 days which allows us to witness [...]
  • Joe Faulkner recently spoke to photographer Laurent Kronental about his images of the powerful and ghostly landscapes of the Grands Ensembles in Paris. JF: How did you become interested in photography?LK: My passion for the image goes back to my childhood, but I only started photography at the age of 22, while traveling for six months in China. I was then living in Beijing and was using a small compact digital camera to capture my Asian experience. Fascinated by large cities, I was very excited to be part of one of them and be able to visit the country that had intrigued me for so long. From mega-cities to rural areas, everything in this country is overwhelming. Hong Kong was determinant. I was literally absorbed by its atmosphere: the palpable tension [...]
  • Photofusion and Rockarchive have collaborated to create this timeline of portraits of David Bowie, Silhouettes and Shadows. From an innocent boy playing in front of a small crowd to the Starman we all know. Joe Faulkner spoke to the founder of Rockarchive, Jill Furmanovsky, who is a prolific rock photographer in her own right.Joe Faulkner: How did you find yourself with the opportunity to photograph these people?Jill Furmanovsky: I presume you mean the rock and roll musicians?! As a student in the early 1970s I worked at The Rainbow Theatre in London taking live shots directly for the theatre. There I photographed concerts by the likes of The Who, Pink Floyd, Van Morrison, The Faces etc and could also photograph some rehearsals, which meant I met a few of the [...]