B&W

Alexey Titarenko – ‘Black and White Magic of Saint Petersburg’

Alexey Titarenko‘s ‘Black and White Magic of Saint Petersburg’ – a romantic photographic novel inspired by Dostoevsky’s short story ‘White Nights

Alexey Titarenko - Black and White Magic of Saint Petersburg

Alexey Titarenko – Black and White Magic of Saint Petersburg

 

“I was so hooked when I read it, so decided to create a romantic series of images and call it ‘Black and White Magic of Saint Petersburg.’ But how you create magic? How to translate it? You can’t just say to people ‘this is magic’. They have to feel it.

Marcel Proust taught me that the only way to communicate and to share what I was feeling with others is the use of the metaphor. The metaphor of the magic was to create it by the way of the process of solarisation.”

With halo-like outlines around forms and areas, they somehow disperse in a smooth humid atmosphere, just like the one of St. Petersburg, and makes the images more romantic. It is if they have been rocked by the wind, penetrated by the air, swallowed up in space.

The series was created 1995-1997.

“There are, Nastenka, though you may not know it, strange nooks in Petersburg. It seems as though the same sun that shines for all Petersburg people does not peep into those spots, but some other different, new one, as if bespoken expressly for those nooks, and it throws a different light on everything. In these corners, dear Nastenka, a quite a different life is lived, quite unlike the life that is surging round us. But such as perhaps exists in some unknown realm, not among us in our serious, overserious, time. Well, that life is a mixture of something purely fantastic, feverently ideal, with something (alas! Nastenka) dingly prosaic and ordinary, not to say incredibly vulgar…” 

Translated from the Russian by Constance Garnett. In: Dostoevsky, Fyodor. White Nights. London: Heinemann, 1970, p. 15

 

Milagros Caturla

Milagros Caturla – a rare Spanish photography talent discovered by chance

In 2001 while holidaying in Barcelona, American traveler Tom Sponheim bought for $3.50 at the local flee market Els Enchants an envelope with negatives from an unknown photographer. After the negatives were exposed few years later, amazing photographs from Barcelona’s life in the 1960s came to light. Fascinated by their quality Tom Sponheim decided to try to find their mystery author and in 2010 he created the Facebook page – ‘Las Fotos Perdidas de Barcelona’. Though many people identified themselves in the photos, still the identity of the original photographer remained unknown.
Until 2017 when Begoña Fernández thanks to hours of painstaking research in the archives eventually identified the photographer as Milagros Caturla. Actually, Milagros Caturla was not a professional photographer but a passionate amateur who used to ramble Barcelona streets in her free time catching the everyday life of her fellow- citizen. She was well known that time and had won many photo contests before her death in 2008.

So, will Milagros Caturla follow the destiny of Vivian Maier’s discovery? According to the words of Mr Sponheim the answer is no. “The images are not for sale. My main purpose is to make sure that these images are preserved for the people of Barcelona and for any of the families affected.”

Milagros Caturla, photography, Barcelona 1960s

Milagros Caturla

 

Cheryle St. Onge – ‘Natural Findings’

The series ‘Natural Findings‘ by Cheryle St. Onge “explore the curiosity and awe of our early grasp of nature; a paper wasp nest that appears dropped from Mars, the frog egg masse that on close inspect, possible through a photograph, becomes a gelatinous scoop of stars, a constellation of black dots, soon to be tadpoles. The photographs become both the shared means of a longer examination and the conduit of our own private recollection of nature.”

Cheryle St. Onge photography, series Natural Findings

Cheryle St. Onge – Natural Findings

 

Masahisa Fukase – ‘The solitude of ravens’

Japanese photographer Masahisa Fukase made his obscure masterpiece ‘Ravens’ (‘Karasu’) between 1975 and 1982 as a way of overcoming a personal emotional trauma following a divorce with his second wife Yōko Wanibe. Though the photographs at first sight are a personal lament reflecting the darkened vision of the photographer himself, they are regarded by many as the most important body of work to come out of postwar Japan, and still its imagery continues to inspire artists and writers today.

Masahisa Fukase, series Ravens, photography

Masahisa Fukase – Ravens

 

The project originated as an eight-part series for the magazine Camera Mainichi  and these photo essays reveal that Fukase experimented with multiple exposure printing and narrative text as part of the development of the Karasu concept. The first book was published in 1986, subsequent editions were published in 1991 and and 2008, and in May, 2017 a new one is coming published by Mack Books.

“Ravens is one of the defining bodies of work in the history of photography and a high point in the photo book genre. This accumulation of accolades, and the passing of time, have obscured much of the fascinating detail which explains the artist’s pre-occupation with this motif throughout his work. It was not simply a reflection of the existential angst and anhedonia he suffered throughout his life but manifested in artistic self-identification with the raven and ultimately spiralled into a solitary existence and artistic practice on the edge of madness…” Tomo Kosuga from his essay Cries of Solitude [2017]

Watch this video created by Esther’t Hart and Wiek Roggeveen as a tribute to the photographer to get an idea about the series.

 

Dorothy Kerper Monnelly – ‘For My Daughters’

Dorothy Kerper Monnelly’s series ‘For My Daughers‘ – a beautiful and thoughtful dialogue between mother and daughter, between words and images, between time and space.

When she was still a teenager, Dorothy Monnelly discovered in the attic of their home, a box of her mother’s poems. They were written between 1920 – 1945 and left as her “creative” legacy for her daughters.

The series consists of floral stills and landscape photographs and is published as a photobook “For My Daughters”.

Dorothy Kerper Monnelly - For My Daughters, Floral Stills

Dorothy Kerper Monnelly – For My Daughters, Floral Stills

 

“I have always treasured my mother’s poetry. When reading it recently, she gave me the idea of combining my images with her poetry to create a conversation back and forth about the idea expressed in each poem. She felt that we would understand each other, and writes in a poem to her daughters:

The pattern born within my mind

Is latent in their own. My wisdom

May not be profound, but they will recognize

Its likeness in their blood and bone.

It has been said that my photography shows the extraordinary in the ordinary; the same comment has been made regarding my mother’s poetry.”

 

Dorothy Kerper Monnelly - For My Daughters, Landscapes

Dorothy Kerper Monnelly – For My Daughters, Landscapes

 

 

Inge Morath – ‘On Style’

Inge Morath (1923–2002) new book ‘On Style‘.

Famous Austrian photographer “may have frequently photographed well-dressed people and many figures of the fashion world, but to call her a fashion photographer would be a mistake”, according to John P. Jacob, the McEvoy Family curator for photography at the Smithsonian American Art Museum. “Whether photographing festivals or artists’ studios, on films sets, the street, or the fashion runway, what distinguishes Morath’s photography is an unerring eye for life’s brilliant theatricality”

Inge Morath, photobook On Style, photography

Inge Morath – On Style