darkroom based photography

Category: Photographers to admire (Page 1 of 3)

Hallowed Camp #14

Today, I spent an absorbing hour reading about George Davison. I was reminded of his famous picture, ‘The Onion Field’. Taken with a pinhole camera and printed on rough paper, Davison was a wonderful photographer of the ‘fuzzy school’.

George Davison ‘The Onion Field’, Mersea, Essex 1890.
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Hallowed Camp #13

The ‘hallowed camp’ is a collection of photographs that I return to on occasion. In the words of the Eagles, these photographs ‘can check out any time … but can never leave’. Here is the thirteenth picture from the series, this one by Raymond Moore, the ‘go-between’ …

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Hallowed camp #12

The ‘hallowed camp’ is a collection of photographs that I return to on occasion. In the words of the Eagles, these photographs ‘can check out any time … but can never leave’. Here is the twelth picture from the series, this one by Paul Graham.

I find Graham’s photography profound. To see his archive see here.

Hallowed camp #8

The ‘hallowed camp’ is a collection of photographs that I return to on occasion. In the words of the Eagles, these photographs ‘can check out any time … but (can) never leave’. Here is the eighth in the series, this one by Wright Marion Morris.

Wright Morris
Straight Back Chair, The Home Place, Near Norfolk, Nebraska, 1947

A while ago I wrote a short post on Morris here.

Hallowed camp #7

The ‘hallowed camp’ is a collection of photographs that I return to on occasion. In the words of the Eagles, these photographs ‘can check out any time … but (can) never leave’. Here is the seventh in the series, this one by Sally Mann.

Sally Mann, Untitled 1978

I often gaze at this image. It is a picture of the ‘Bridge on Tallahatchie’, the river where Emmett Till’s corpse was recovered. Unfortunately the reproduction above does not do the picture justice. Sally Mann’s wonderful book ‘Thousand Crossings’ has this picture beautifully rendered.

For the rationale behind this series see here.

Hallowed camp #6

The ‘hallowed camp’ is a collection of photographs that I return to on occasion. In the words of the Eagles, these photographs ‘can check out any time … but (can) never leave’. Here is the sixth picture, this one by Shore.

The pictures in this series have stopped me and made me think. I am drawn to looking down the length of streets, bridleways, paths …

Presidio, Texas, 1975; Stephen Shore
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