This photo of the week is only my fourth portrait photograph. Previous ones have been of I.K.Brunel, W.G.Grace, and Winston Churchill by Karsh in December 1941 [number 21 in my series].
This week’s photo, Audrey Hepburn by Bill Avery in 1953 is my first proper studio portrait photo, and of course it has to be a Hollywood film studio shot.
Portrait photography is as much of an art as news photography, or photo-journalism, possibly the more so in the difficulty of trying to capture that illusive character of the sitter.
Bill Avery 1917 -2002 learned his skills working for Columbia Pictures, and after wartime service as a war photographer returned to work for the major film studios. Most studio photos are done for promotional purposes. Attempting to capture the character of an actor, within the confines of a PR brief, requires skill. I think Avery caught, both her beauty, and naturalness. Hope you agree.
How splendid to be able to post a Photo of the week by a photographer that I know.
Daan Olivier’s photo is of a clashing returning wave during Storm Brian, photographed at Newhaven, on 21st October 2017 at 1408 hrs.
Why so precise? Well, Daan reckons that luck, in photography, derives from precise preparation. To prepare for the photo of Clashing Wave, Daan tells me he studied the tide tables at Newhaven, also the wave action of the Clapotis Gaufre wave type. Now, don’t tell me it’s all luck. There’s an element of luck, but preparation is all.
Wikipedia describe Clapotis Gaufre as,
When a wave train strikes a wall at an oblique angle, the reflected wave train departs at the supplementay angle causing a cross hatched wave pattern known as the clapotis gaufré (“waffled clapotis”). In this situation, the individual crests formed at the intersection of the incident and reflected wave train crests move parallel to the structure.
This is a terrific sports action photo of Jackie Stewart followed by Graham Hill at the Nürburgring, 1966, by an unnamed photographer. Formula 1 racing cars don’t ‘fly’ now, and nor do they race on the Nürburgring.
There’s an interesting discussion on who’s the best racing driver in history. The BBC questions can we ever really compare the F1 greats?
I think the simple answer is that’s extremely difficult to make a judgement, because of the changes in motor racing technology. There were great racing drivers in different eras. Perhaps we should leave it like that, and respect the talent of the best drivers in their time.
This is the third Robert Doisneau to appear in my Photo of the Week series. I’ve written previously about Doisneau staying true to his principles of capturing street culture, and his photo-journalistic approach.
The Wikipedia entry for Doisneau has this quote of his,
The marvels of daily life are so exciting; no movie director can arrange the unexpected that you find in the street. — Robert Doisneau
The quotation is appropriate to this photo, entitled Two brothers, Rue Marcellin Berthelot, Paris, 1945. I particularly like the two angles in the photo, the slant from left to right, and the low down angle from which the photo is taken. I also like the affection that the older brother has for his younger brother. A cracking photo.
I’m delighted to show another photo by Bert Hardy [1913-1995]. I’ll not pass comment, just let you enjoy the photo.
I’m starting the week with a new Photo of the Week. This, No.36, is by Jane Bown, a 1959 photo of Bampton Pony Fair. Appropriately, the Fair , in Bampton, Devon, is this month on the 25th.
A Jane Bown image of Samuel Beckett was photo of the week N0.22. So impressive was that a second one of hers was an obvious choice. This image has honesty, and the observant eye of a journalistic photographer. It’s the juxtaposition of well shod feet contrasting with the humble gate or fence is well observed. A worthy photo of the week, methinks.
My series of Photo of the week reached No.29. While we were away I posted six photos in a series entitled Photography Week. Now, I’m keen to get back to one photo per week, and to help this along I’m numbering those in the Photography week series to align with the Photo of the week.
So here goes,
- No.30: Maidens in Waiting, Blackpool, 1951 by Bert Hardy
- No.31: Sheep to slaughter, London, 1965 by Sir Don McCullin
- No.32: The Institut de France, Passage Mazarine, Paris 6e, 1931 by Brassaï
- No.33: The Street Lamp, East End pub, London, 1968 by John Claridge
- No.34: Harvest time on the island of Lewis and Harris, 1955 by Bert Hardy
- No.35: Raymond Mays, Shelsley Walsh Hill Climb, 1924
Here’s a reminder of the last, and humourous, photo in the renumbered series,