BST

Ah the Spring Equinox is here. No, I've not suddenly converted to pagansim, although it's somewhere in my roots. It's my time to come out of hibernation and start to take pictures again. I often wonder why I make things so hard for myself. 

I love making photographs in the sun. In London. Yes London.  

I like working during the week. The West End at the weekend just doesn't have that mix of people and purpose I love. 

Oh yes and I love film. 35mm, 36 frames. 

Let's do the maths. 

Optimal light, Spring to Autumn Equinox, 26 weeks. Tops.

5 days a week. Not sunny every day. Call it 1 day a week. Average. It's London remember?

1 roll of film a day. Sometimes more. Sometimes less. It's expensive.

Makes 936 pictures by my reckoning.

Total.

For the year.

Now we can begin.

5% of those 936 are worth looking at a second time.

Half of those 46 a 3rd look.

Of those, 5 (6 if I'm lucky) might have something about them. Not always obvious but just enough.

So you can see why I'm excited. The new year is now.

Can't wait to see what it brings me.

Busy Sean Time.

street philosophy

I see a new book on Garry Winogrand is about to be launched. Written by Geoff Dyer whose book The Ongoing Moment I really enjoyed for his lateral take on the history of photography I'm sure it'll be a good read.

Garry Winogrand is such a go-to reference for what I'll call classic - and others may call old fashioned - street photography that it's curious I honestly was not aware of his work when I started practising. Apologies if that's disingenuous. I can see my work reads like a Winogrand-lite tribute act. 

But my inspiration I recall was through the documentary work of Don McCullin's Homecoming and W. Eugene Smith's Minamata. Back in the day what became known as street wasn't publicly available, in the UK at least. Yes it feels a little sepia toned even writing this. Let me fetch more ink for my quill...

At that time I actually made this type of work, in style and in conscience. Now, in retrospect, it's one of those what-if questions about life (in)decisions. I know I struggled with the anthropological/us & them approach to documentary work which I why I admired for example Jim Goldberg's Rich and Poor project that found a way to break down the viewer/photographer/subject relationship into something fresh. 

I have to accept my own style can easily be seen as making no challenge to those relationships. There's no collaboration between myself and what I photograph. They are still subjects. I seek no deeper insight into their condition. My only only nod to objectivity is not to caption the picture. And yet it's that very ambiguity that I find fascinating and enduring. Geoff Dyer comments in his book on a particular Winogrand photograph from the late 50s/early 60s

In colour, people seem necessarily to be walking into the future (when the overwhelming bulk of photography will be colour); in black-and-white, they are emerging from the past (when black-and-white was considered the only medium for serious photography).

It's a question I've thought with regard to my own work. Is it simply a nostalgia trip, a re-tread of old tropes that were new and radical back in the day but now really saying nothing new? I've fallen back on on jazz, one of my favourite comparisons, and the way that standard compositions can be endlessly re-interpreted. I guess the challenge for me is to stay Miles Davis and not Kenny G...

I'm now looking back at my work from thirty years ago and, yes, those people are still emerging from the past...as they are from last year too. Does that continuity, that plus ça change, say anything worthwhile? I hesitate to use the phrase human condition as for me it's rooted in that black and white world of Life and Picture Post photography that in a contrary way reinforced social stereotypes while ostensibly celebrating them. But hey are we any more sophisticated now? 

Perhaps I just need to appreciate these pictures for what they are. Tiny breadcrumbs of my life. Watch out. Sounds like a book title...

bienvenidos angelenos

If you've seen my work in the Los Angeles Center of Photography's latest show Street Shooting Around the World then welcome!

 

I'm really proud to have been selected by Gus Powell. The image has particular resonance as I've taken it in my home town London as part of my current series New Europe.    

It's not a documentary project, more a personal response to what it is now to live in Europe. You can read more about that story here.

It's great to show in America again as my time living in New York City back in the 80s was an incredible influence on my work, and life too in lots of ways.

If you're interested in finding out more about my work you can reach me at sean@waysofwalking.net

Thank you!

tale of two cities

I have a confession to make. I cannot resist books about London. Not the "1001 things you didn't know" sort - although I'd make an exception for Ed Gilnert's The London Compendium and, er, Nicholas Barton's The Lost Rivers of London. Anyway you get the idea. I've written about fiction and historical novels as sources of inspiration but two books I've recently read with more of a documentary angle really made me reflect on the present day London.

I've been an admirer of Iain Sinclair's writing about London since I read Lights Out for the Territory. His leaps of imagination, making links across time and space, really attracted me. In fact the subtitle of that book was 9 Excursions in the Secret History of London (I know, I know, it's just another exception) and he introduced me to the wonderful word palimpsest as applied to the streets of London still bearing traces of their existence as thoroughfares for Romans or Victorians. I really connected to this vision of London as both organic and mythical: a world simultaneously virtual and real as brought to life by Streetmuseum. 

Sinclair's novel The Last London has a different tone. The layers of history he's mined are now exhausted as London's latest incarnation is populated by people living "above the city, floating on their devices" in a perpetual present tense, in a virtual world disconnected from any historic, cultural or social roots. This is a London he doesn't know how to interpret any more. His reference points carelessly uprooted, appropriated and repackaged to feed the global market.

However he also is disturbed by another consequence and, unexpectedly for me, it linked his and Ben Judah's This is London. Where Sinclair observes the evidence of immigrants sleeping rough at the side of a canal yards from an artisan cafe, Judah is sleeping alongside them in the underpass at Hyde Park Corner listening to the footsteps of the new denizens of the city in a nightmare soundscape. However he shares Sinclair's troubles that he also doesn't understand what London has become.

It's a powerful book. Judah facilitates the stories of people not in the gentle style of Craig Taylor's Londoners but in a sequence of personal testimonies you might hear from voices on a BBC World Service documentary but here in London. Today. At the Museum of London last year I heard Judah passionately narrate his last chapter about Hajji an imam who washes the bodies of the dead before burial. "There are angels hovering over Leyton". I've just checked when he spoke. It was the day before Grenfell. What's that about palimpsests again?

Perhaps I had some intuition about the relationship of the two books. Most likely it was simply two sides of the same coin but after reading them I felt something more fundamental. 2017 was a defining year for London in the way 2016 was for the country The city has always had the capacity to contain a multitude of narratives but the fear that we are all becoming party to a more institutionalised version, a place closer to Beszél and Ul Qoma, leaves me uneasy.

Not so uneasy as to leave however. I'm not going anywhere just yet.

camouflage of colour

The National Gallery in London currently has a show entitled Monochrome: Painting in Black and White. It's an interesting take on the deliberate choice of back and white by artists for their work in painting, printmaking, drawing etc over the last eight hundred years. For me it's a fascinating contrast to the role of black and white in the history of photography: initially the only means of popular expression and then overtaken by colour and identified, ironically, as the choice of artists.

I don't regard my choice as wilfully retro and have more recently enjoyed using the practical benefits of colour to work quickly. This exhibition however really explores the essence of what monochrome brings to both artist and audience. It also introduced me to a wonderful word grisaille. 

As you'd perhaps expect black and white was a common technique to prepare sketches for the final execution of a painting which invariably was in colour. However over time it was seen to have its own power of expression that artists began to exploit. The argument of this particular exhibition is that power was one to arrest the viewer, to make them look again and look harder by removing the everyday camouflage of colour (gosh I just thought of that phrase, there's my blog title!).

It's not a particularly novel idea but it's one I certainly support and it was developed in one particular image called Grey Mirror by Gerhard Richter. The idea is brilliantly simple, painting a sheet of glass grey and transforming it into a mirror. OK it can fall into an "is that art" argument but for me it very, very much is. Even searching for this image online plays tricks as there is no one definite image as it is forever reflecting the environment around it and, even more so, you as a viewer become implicit in the art work.

Grey Mirror, 1992, Gerhard Richter

For me it's a great way of encapsulating my take on street photography. Forgive my impudence but hey this is my blog after all :) 

Images of the street are just that. Reflections. They are not fixed. Atoms colliding. We, both actors and audience, perpetually shape shifting between both states. In time and out of time.  

As well as a document of a particular moment on a particular day, street photographs and, to keep on topic, black and white street photographs do something else. They literally arrest us. We are all implicated in the picture by stopping and watching. What are we looking at? 

Our selves.