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Taken from the BBC website,
http://www.bbc.co.uk/news/in-pictures-13133461
Makes you think about shots, and what makes one.
Extract:
Some photographs change the way we look at the world, some change the way we look at photography, and some do both. For me Roundabout, Andersonstown, Belfast, 1984, by photographer Paul Graham (above) is one such picture.
In a wider context it cemented Graham's position in the photographic hierarchy as a leading British photographer, one of the few then challenging the perceived wisdom that all serious photography was in black and white, and on a personal level, when first seen in the 80s, it revealed to me that photographs can be subtle and need to be read, not just glanced at. They deserve respect.
The picture is part of Graham's 1984-86 series entitled Troubled Land and depicts the Troubles in Northern Ireland. Standing in front of the picture with Paul Graham at The Whitechapel Gallery in London where a collection of his work from the past 30 years opens to the public today, I was interested to hear how this photograph had been such an important one for him.
Unionist Posters on Tree, County Tyrone, 1985, from the series Troubled Land, Pigment ink print Graham told me that on returning from his first trips to Northern Ireland he felt depressed with the results. His pictures were of the gabled ends of buildings displaying huge murals in support of one group or another, the sort of pictures used widely in the press at the time. Yet they tell us little of the story itself, they are but illustrations.
Despite having no press card or indeed legitimate reason for being there he continued to work on the project and it was this photograph that set the tone for what was to come. Whilst standing by the roadside with his medium format camera in hand, a British Army patrol approached him and asked what he was doing, whilst making it clear he should take no more pictures. But his instincts took over and he made this frame as the patrol left the scene. You can see the soldiers running off down the road on the right, with one still on the roundabout.
At the time he didn't realise its significance. It was only when he was looking through his negatives that he realised this was his breakthrough picture, one which offered a gateway to the story. His style was now set, it would be anti-surveillance, turning the camera from a device that focuses in on the most important part of the frame, to one that captures the wider view and pushes the viewer to seek out the significance of the picture
http://www.bbc.co.uk/news/in-pictures-13133461
Makes you think about shots, and what makes one.
Extract:
Some photographs change the way we look at the world, some change the way we look at photography, and some do both. For me Roundabout, Andersonstown, Belfast, 1984, by photographer Paul Graham (above) is one such picture.
In a wider context it cemented Graham's position in the photographic hierarchy as a leading British photographer, one of the few then challenging the perceived wisdom that all serious photography was in black and white, and on a personal level, when first seen in the 80s, it revealed to me that photographs can be subtle and need to be read, not just glanced at. They deserve respect.
The picture is part of Graham's 1984-86 series entitled Troubled Land and depicts the Troubles in Northern Ireland. Standing in front of the picture with Paul Graham at The Whitechapel Gallery in London where a collection of his work from the past 30 years opens to the public today, I was interested to hear how this photograph had been such an important one for him.
Unionist Posters on Tree, County Tyrone, 1985, from the series Troubled Land, Pigment ink print Graham told me that on returning from his first trips to Northern Ireland he felt depressed with the results. His pictures were of the gabled ends of buildings displaying huge murals in support of one group or another, the sort of pictures used widely in the press at the time. Yet they tell us little of the story itself, they are but illustrations.
Despite having no press card or indeed legitimate reason for being there he continued to work on the project and it was this photograph that set the tone for what was to come. Whilst standing by the roadside with his medium format camera in hand, a British Army patrol approached him and asked what he was doing, whilst making it clear he should take no more pictures. But his instincts took over and he made this frame as the patrol left the scene. You can see the soldiers running off down the road on the right, with one still on the roundabout.
At the time he didn't realise its significance. It was only when he was looking through his negatives that he realised this was his breakthrough picture, one which offered a gateway to the story. His style was now set, it would be anti-surveillance, turning the camera from a device that focuses in on the most important part of the frame, to one that captures the wider view and pushes the viewer to seek out the significance of the picture
and I can't see how they won either.....Maybe it's all in the blurb:rules:
