Book review: Yvon’s Paris by Robert Stevens

The core

The photographer Pierre Yves-Petit, who called himself “Yvon,” wandered the streets of Paris between the world wars looking for the moment when the shifting light and clouds would perfectly reveal the city’s ephemeral, iconic beauty. The dramatic images of the city and its people that he made during those years would become the most popular postcards in France. They can still be bought today on Parisian quais and are eagerly sought by collectors.

Pierre Yves-Petit  job and his love of the city, whose streets he often wandered early in the morning and late at night. In his photography he was able to seize the Paris highlights, the  beauty of the streets and gardens in a  beautiful blend of black, white and grey.  As Yvon,  he captured the essence of the city in his photographs, having published  his work on photocards.  His efforts met greet commercial success. Continue reading Book review: Yvon’s Paris by Robert Stevens

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Out now Lens Culture, volume 26: remarkable contemporary photography from around the world

Lens Culture, volume 26: remarkable contemporary photography from around the world – lens culture photography weblog.


Volume 26 of Lens Culture is online now. As always, it’s filled with a wonderful and eclectic mix of contemporary photography from around the globe.

Photographers whose work appears in this new issue include:

Pierre Torset, Charlie Ferguson, Tamas Paczai, Allen Ginsberg, Lennart Nilsson, Vee Speers, Marie Docher, Andrzej Mitura, Tony Ray-Jones, Massimiliano Clausi, Judit M. Horvath and Gyorgy Stalter, Jim Vecchi, Matt Lutton, Carolle Benitah, Michael Christopher Brown, Margaret M. de Lange, Franco Pagetti, Lucie and Simon, Marcos Lopez, Antonio Martinez, Annie Liebovitz, and Joel-Peter Witkin.

Plus you can enjoy a high-resolution slideshow of 40 preview picks from the

To be continued at

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Recommended: Fresh Fairs (2)

31 unread – threadsy.

The Lucie Foundation is excited to bring you the second installment of Fresh Fairs, a unique photography fair with exhibitions blending the represented and unrepresented, an exclusive portfolio review with top photography experts, and critical conversations through discussions with pivotal members of the photography community all taking place in April during the Month of Photography Los Angeles. We invite you to submit for consideration for the juried exhibition component, or the juried portfolio review. Check out for more information. Submission deadline is March 19, 2010.
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Looking at the remarkable artefacts of Chauncey Hare

Protest Photographs.

Photographs and text by Chauncey Hare. Edited by Jack Steven.
Steidl / Steven Kasher Gallery, Gottingen, 2009. 224 pp., 170 tritone illustrations, 10x12½”.

Selected as one of the Best Books of 2009 by:
  • Todd Hido
  • Jeff Ladd
  • Jeff Mermelstein
  • John Gossage
  • Martin Parr
  • Chauncey Hare does not define himself as a photographer, but rather as an engineer, a family therapist and, above all, a protester. In his fast-paced introduction to this volume, Hare recounts a life devoted to protest. He describes his keen identification with the people whose homes he photographed throughout the late 60s and early 70s, and his refusal to betray them by selling his photography. He tells of his struggles to have his photographs accepted by the art world, and relates his abusive childhood, and the difficulties of his work life as an engineer at a major oil company and at the U.S. Environmental Protection AgencyProtest Photographs contains twice as many images as his two earlier books, Interior America (1977) and This Was Corporate America(1984).

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Looking at the remarkable artefacts of Josef Schulz

Found at Josef Schulz: Sign Out.


“Sign out,” Josef Schulz’s latest exhibition at Galerie Heinz-Martin Weigand, is the arresting culmination of a series of photographs taken along the highways and byways of America. Widely recognized in art and design spheres for his seductively uniform images of industrial buildings and warehouses, the Düsseldorf-based photographer recently trained his lens on another icon of commercial activity, the roadside signpost.

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Recommending AMERICANSUBURB X: INTERVIEW: “Monkeys Make the Problem More Difficult – A Collective Interview with Garry Winogrand” (1970)

'New York City, 1968' by Gary Winogrand
Image by LastGreatRoadTrip via Flickr

Found at   AMERICANSUBURB X: INTERVIEW: “Monkeys Make the Problem More Difficult – A Collective Interview with Garry Winogrand” (1970).

href=””>INTERVIEW: “Monkeys Make the Problem More Difficult – A Collective Interview with Garry Winogrand” (1970)

Originally Published in Image Magazine by George Eastman House – Vol. 15, No. 2, July, 1972

Transcribed and Edited by Dennis Longwell

“In an artistic work of true beauty the content ought to be nil, the form everything. . . . The secret of great artists is that they cancel matter through form; the more imposing the matter is in itself, the greater its obstinacy in striving to emphasize its own particular effect, the more the spectator inclines to lose himself immediately in the matter, so much more triumphant is the art which brings it into subjection and enforces its own sovereign power.”

To be continued at found at   AMERICANSUBURB X: INTERVIEW: “Monkeys Make the Problem More Difficult – A Collective Interview with Garry Winogrand” (1970).
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Looking at the remarkable artefacts of Simon Roberts (photo-eye | Magazine)

Fish and chips
Image via Wikipedia

Some months ago I mentioned Simon’s great book. I did see some fine prints in Paris. After the yearlist I did see this wonderful review from the excellent photo-eye.

Found at

Simon Roberts We English
Photographs by Simon Roberts. Introduction by Stephen Daniels.
Chris Boot, , 2009. . 112 pp., 86 color illustrations, 14×11-1/2″.

We English Photographs by Simon Roberts. Introduction by Stephen Daniels. Published by Chris Boot, 2009.Simon Roberts produced the images for We English during a year visiting popular recreational sites across England. It’s an intriguing way to investigate a country, one which served my family well when living in England while I was 13 (we actually visited some of Robert’s locations). It’s served Roberts well, too. Documenting his countrymen beach combing, pheasant hunting, visiting car boot sales, hiking and spending afternoons at the lake, Roberts’s images are landscapes of English leisure, both natural and social.

Quite simply, the images are beautiful, though perhaps not immediately revealing – their beauty can encourage the clumsy habit of overlooking what they contain. The best of these photographs are remarkable in the layers that Roberts’s has managed to capture – environment, group and individual. And truly the three inform and shape the others.

The 86 photographs in the book depict an array of interactions with the outdoors. Though sometimes sparsely populated, the effects of human use are visible in every image, ranging in severity from the scars running up green hillsides to the garish architecture of seaside Black Pool – all causalities of joyful use. But while are landscapes molded by the activities of the masses, they are enjoyed by the individual, and Roberts’s large-format images are detailed enough (and the book’s printing sharp enough) to look at the individual. This is really where Roberts won me over; tiny black specs in the sea become surfers, a mother takes a picture with her child, a kid sits alone in contemplation among the crowd. Each figure is fascinating, an individual acting within the group.
This edition does a wonderful job of presenting Roberts’s images. Even so, I feel like there’s more to this work. The book ends with an essay by Roberts which reads like an engaging artist‘s talk, referencing and explaining not every image, but those that serve as speaking points in the evolution of the project, providing a personal, logistical and sociological context. I wish this text had been longer – Stephen Daniels’s introduction is an informative history, but I’m not convinced it was the best set-up for Roberts’s work. I’m interested in hearing more from Roberts on this project – and I’m curious to see what he does next. —Sarah Bradley
Sarah Bradley is a writer and maker of things currently living in Santa Fe, NM. She has work for photo-eye since 2008.

Read more and see some pics at

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