A pioneer of colour photography in the 1960s, photographer John Bulmer began his photographic career in Cambridge, where along with Peter Laurie Brendan Lehane and Adrian Bridgewater they founded Image. The magazine’s aim was to provide its photographers with experience to work as professional photographers in London and Bulmer duly joined the Daily Express in 1960.
Bulmer was a devotee of the new photographic technology and quickly embraced the 35mm format. This enabled him to work with greater flexibility and faster than his other Fleet Street colleagues who were still shooting on Rollei cameras.
From the Express, Bulmer started freelancing for Man about Town, later renamed Town, working alongside Terence Donovan, David Bailey and Don McCullin and it was here that he shot one of his most celebrated works on the North of England and in particular his documentary of the town, Nelson.
Vera Lutter, à la galerie Xippas (jusqu’au 24 octobre) mérite d’être mieux connue en France. Elle réalise des photos camera obscura de très grand format, la chambre étant en fait un caisson ou un conteneurainer placé in situ et la photographie finale étant aux dimensions mêmes de cette chambre. Le container est positionné devant des paysages urbains ou industriels, l’objectif reste ouvert du matin au soir, et l’image ainsi impressionnée est révélée en général chaque soir. L’artiste se trouve dans le container, observant la lumière qui impressionne le film, réglant la luminosité et prenant des pages et des pages de notes sur son expérience : on pourrait s’approcher de la performance, mais ces notes, jusqu’ici, restent confidentielles, ne sont pas exposées, et le travail de Vera Lutter se veut photographique avant d’être conceptuel.
For four decades, Charles Gatewood has trained his camera on underground scenes, from the Beats and the dark alleys of 1970s Mardi Gras to modern primitives and extreme sexual fetishists. He is a photographic anthropologist at the fringes of Western culture.
Scenes from the Violent Twilight of Oil (Slideshow)
Oil may be making its long goodbye, but twilight or not, the Oil Age still defines our world.
0815 Impression du jour
I can only think of one person who would find this post useful (and in the same time remotely flattering) but I doubt he’s a reader of fireEXIT. Be that as it may the reason this feed caught my attention was that the photo looked so very familiar and yet I had never seen it before.
Credits (and more) here.
We’ve probably all seen those men who can enter any room and instantly command it. I’m not talking about the loud and boisterous dolt who makes a scene with obnoxious alpha-male jackassery. I’m talking about the man who exudes a silent magnetic charisma that electrifies the entire room just by his presence. People feel better when this type of man is around and they want to be near him.
The benefits of being able to walk into any social situation and completely own it are innumerable. The man who can command a room is more persuasive in his business presentations, easily meets and makes friends, and attracts more women. While many men are born with the ability to charismatically command a room, it can also be learned. Below we’ve provided a few tips to get you started on being El Capitan of any social or professional situation.
Walk in boldly. Many men walk into a room timidly because they don’t want to appear presumptions or self-important. While you shouldn’t barge into people’s home, once you’re invited in, walk in with a bit of pep in your step. You’re supposed to be there, so act like it.
Theodore Roosevelt was a master at walking into a room boldly. In 1881, Roosevelt was elected to the New York Assembly at the age of 23. Accounts from fellow assemblymen on Roosevelt’s first day in office all describe the impressive entrance of the young man. (…)
More photos by Nat Farbman here. I found the details in a couple of them particularly spooky.
Akihabara Metro Station, Tokyo
Business girl on her way home.
When paintings and sculptures depict a man or woman with a book, this usually signifies that they are studious, saintly, noble and wise – persons of substance. Kertész’s approach is different. Apart from one semi-surrealist shot of Peggy Guggenheim, with an open book in the foreground, he has no interest in the great and good. The Bowery bum retrieving a newspaper from a wastebin; a woman kneeling over a text in a Manila market; gondoliers, circus performers and street vendors snatching time between work duties to peruse a book or magazine – Kertész’s subjects are often people you wouldn’t expect to see reading. What the camera captures is their thirst for knowledge or hunger to escape their circumstances. One memorable image features a boy sitting in a New York doorway in 1944, amid a heap of newspapers left there to alleviate the wartime shortage (“Paper is needed now! Bring it at any time,” reads the poster behind him). Times are hard yet the boy looks perfectly happy: amid the detritus, he has found a page of comic strips.
Whereas books are traditionally thought of as an indoor pursuit, most of Kertész’s subjects are caught reading outdoors. The venues aren’t just parks and beaches. There’s a whole sequence of images taken in Greenwich Village in the 1960s and 70s, showing people reading high above the street, on tenement rooftops, penthouse balconies, metal stair-ladders and window ledges. Enrapt as they are, the readers seem indifferent to the chimneys, ventilation pipes and washing lines that surround them: away from the crowds, each has found a space to be alone. The setting is tough and urban. Yet there’s a spiritual quality, too – reading as a stairway to heaven.
Henri Cartier-Bresson, L’amour tout court
Culte de la semaine : France
“Quand on veut on n’obtient rien. Il faut rien vouloir.” -H.C.B.