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Posts Tagged ‘photography’

Right from the start I saw Dublin’s Vicar Street venue as being ideal for this project but it took me quite a while before I managed to get in there to try it out. The venue management were very helpful and open to the idea from the start, but the problem was that it’s a [...]

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Most gigs I go to have one, if not two, support bands. I wondered early on whether to try and shoot both acts, or just concentrate on the main attraction. The problem is that two different bands, on the same night, will share a lot of equipment, so there are similarities between the resultant pictures. [...]

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This is Retribution Gospel Choir, shot in Whelans back on the 13th of March. It was a pretty sparsely attended gig, which surprised me, as the band are a side-project of Alan Sparhawk of Low. I only decided to go in on the day, and the extraordinarily helpful Alastair Foley of Whelans/Foggy Notions sorted out [...]

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This shot was the first successful one I took in Whelans. The first night I tried to photograph there was at a Xiu Xiu gig and I was immediately faced with the problem that I couldn’t hoist the camera up far enough to clear the balcony railing. The next time I went, I solved the [...]

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This post is part two of an essay on Paul Seawright’s Invisible Cities project. You can read part one here. Invisible Cities clearly must be considered as part of a tradition of documentary photography and as such it raises a number of interesting questions that I will now turn to. The first of these is [...]

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This post is something of a departure from the usual business on this blog. It is an essay I wrote on Paul Seawright, focusing in particular on his Invisible Cities work. This work comprises of photographs taken over a three-year period in sub-Saharan African cities. In many senses the work goes against the grain of [...]

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In this essay, written in 1995, Lev Manovich explores the ramifications of digital technology and photography. He asks if such a thing as digital photography really exists, and to what extent this really differs from traditional photographic practice. Manovich starts by referring to a range of digital innovations that have transformed the practice of image [...]

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This essay appears in Solomon-Godeau’s Photography At The Dock collection. It deals with a number of post-modern photographic artists, explaining their work, and situating it in opposition to the established canon of modernist art photography. It is deeply critical of many of the fundamental assumptions of modernist photography that would have been elaborated in the [...]

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Peter Wollen’s Fire and Ice is a meditation on time and tense in photography and cinema. It deals with issues regarding what sorts of temporal experiences can be embodied within both forms and how the viewer’s means of engagement impacts upon this. The essay was first published in 1984 but later included in Liz Well’s [...]

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John Szarkowski’s book The Photographers Eye was based on an exhibition of the same name held at the Musuem Of Modern Art in New Work in 1964. It featured the work of Friedlander, Evans, Strand and many others, and attempted to give an overview of the fundamental challenges and opportunities of the photographic medium. In [...]

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