Until 13 July 2014

 
John Deakin, Jackie Ellis, actress, 1960s © The John Deakin Archive/ The Photographer's Gallery

The Photographers’ Gallery, 16 – 18 Ramillies St, London W1F 7LW

Opening Times:  Mon – Sat 10.00 – 18.00, Thu 10.00 – 20.00, Sun 11.30 – 18.00

Admission: Free

For Further Information: +44 (020) 7087 9300/ info@tpg.org.uk

Under the Influence: John Deakin and the Lure of Soho, explores the hidden corners and colourful characters of 1950s and early 60s London Soho, as seen through the eyes of John Deakin (1912 – 1972).

Considered to be one of the greatest postwar British photographers, Deakin was renowned for his penetrating portraits, haunting street scenes and striking fashion work. The exhibition includes rarely seen and un-shown works including portraits of the painters Lucian Freud, Frank Auerbach and Francis Bacon. It also includes the writers Dylan Thomas, Daniel Farson and Jeffrey Bernard, the celebrated beauty and artist’s model Henrietta Moraes and Muriel Belcher, proprietor of the fabled drinking den The Colony Room.

The exhibition is accompanied by the publication Under the Influence: John Deakin, Photography and the Lure of Soho, published by Art / Books in association with the John Deakin Archive and The Photographers’ Gallery.

Information: The Photographers Gallery 


© Clube do Analogico

Clube do Analógico Rua Arruda Alvim, 195, São Paulo – Brazil

+55 11 3083-2461

Welcome to Clube do Analógico

Oh Londoners, you are so lucky. Analogue photography is alive and kicking all around the UK, with darkrooms, cameras and films easily available (with a little help from Film’s not Dead, of course). Other parts of the world are not that fortunate – in Brazil, for instance, it’s safe to paraphrase the 1979 song ‘Video Killed The Radio Star’ by The Buggles: ‘(digital) pictures came and broke your heart,’ leaving analogue photographers with a hard time to find the material they love so much.

That reality is about to change if you live in Sao Paulo, though. Okay, one may argue that one city for a country as big as a continent is not much of a change – but it has to start somewhere! We’ve got lab technician Rosangela de Andrade, business man Bruno Caruso and photojournalist Tiago Queiroz to thank for: their effort and love for analogue photography resulted in the Clube do Analógico (or Analogue Club, for the non Portuguese speakers), one of the first spaces dedicated entirely for analogue photography. Its offers include darkroom with black & white enlargers, film supplies, workshops, library, film screenings and much more – a little piece of Heaven, I’d say.

It opened its doors to members and students in early March, filling a market gap that made Clube do Analógico an instant success. In less than 12 hours, its Facebook page gathered 200 followers! “People were hoping for a place like that”, tells me Juliana Straub, one of the Clube’s workers. “With digital photography, there was moment we all thought the analogue method of photography was going to disappear, but fortunately, that didn’t happen. The demand for analogue photography has been gradually increasing and gathering more and more people. Searching for a more organic and contemplative lifestyle gives more strength to the movement, because analogue photography share these interests”.

Don’t forget to include Clube do Analógico if you’re planning a visit to Brazil!

Clube do AnalógicoClube do Analógico Facebook Page 

Author: Yéssica Klein / Instagram: Yessicaklein

Erwin Blumenfeld, Model and Mannequin, American Vogue Cover, 1 November 1945, © Estate of Erwin Blumenfeld/Victoria and Albert Museum, London

 

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Photography, Room 38a

V&A South Kensington
Cromwell Road
London SW7 2RL

Opening Times: 10.00 to 17.45 daily – 10.00 to 22.00 Fridays

Admission: FREE

For further information:  020 7942 2000/ vanda@vam.ac.uk

The fashion photographer Irving Penn once described his work at Vogue as ‘selling dreams, not clothes’.

This display charts the evolution of fashion photography over the last 100 years through the work of leading practitioners, whose images go far beyond the simple recording of fabrics and surface detail. The photographs on display include both iconic and rarely exhibited works from the V&A collection by masters such as Edward Steichen, Cecil Beaton, Richard Avedon, Helmut Newton and David Bailey, alongside contemporary images by Steven Klein, Corinne Day, Rankin, Miles Aldridge and Tim Walker.

Information: V&A 

 

This is camera heaven!

© Dreaming Camera Cafe

341-13, Jung-won-ri, Yongmun-myeon, Yangpyeong-gun, Gyeonggi-do, Korea Yangpyeong 476-843

Opening Times:  Mon: 11:00 am – 6:00 pm Wed – Fri: 11:00 am – 6:00 pm Sat – Sun: 11:00 am – 8:00 pm

For every camera/film lover out there we think this should definitely be added to ones bucket list! Dreaming Camera Cafe is based just outside of Seoul, South Korea and is probably the only place where photographers can sip on a cup of coffee while sitting inside a giant red two storey replica Rolleiflex.

This amazing testament to the classic design of the twin-lens Rolleiflex camera took six years of planning and was eventually finished in 2013. Run by Park Sung-hwan an ex-helicopter pilot in the air-force and his family it’s open six days a week. If you want to find out more about the Dreaming Camera Cafe make sure you check out their prolific facebook page and blog.

© Dreaming Camera Cafe

Information Via: DIY Photography/ Daily Mail 

Dreaming Camera Cafe Facebook

Dreaming Camera Cafe Blog

Interview: The Verge 

  7 April – 3 May 2014

 
 

Willy Ronis - Menilmontaut (Devant Chez Mestre), Paris, France 1957 © Willy Ronis/ Beetles + Huxley

Beetles+Huxley

3-5 Swallow Street

London
W1B 4DE

Opening Times: Monday – Saturday, 10am – 5.30pm

Admission: FREE

For Further Information: 020 7434 4319/ gallery@beetlesandhuxley.com

A delightful display of classic black and white images, highlighting the significance of Paris in 20th century Photography.

Containing collectable prints by André Kertész, Robert Doisneau, Henri Cartier-Bresson, Willy Ronis and Elliott Erwitt, this exhibition reminds us of the beauty of the French capital, and reinforces its importance in bolstering French National identity after the Second World War.

‘Paris in the Springtime’ currently on show at the Beetles + Huxley Gallery is an exhibition of photography that celebrates two of the medium’s most powerful features – its ability to capture the delights of real-life, and its ability to present a very believable fiction.

In part, the exhibition shows how photographers have simply responded to the famous charms of the French capital and its people. Many of the greatest photographers of the 20th century spent time in Paris, as it was the centre of the artistic universe for several decades. It was only natural that they would document the picturesque architecture and appealing culture that they experienced when there.

On a more sophisticated level, however, the exhibition is also an examination of the French cliché that has contributed to an international reputation for romance, culture and fine living. The ‘look’ of France was born in Paris and perpetuated by many of the photographers that worked there – the Eiffel Tower, café society, couples walking hand-in-hand, misty mornings on the Seine, elegant restaurants, and so on. ‘Paris in the Springtime’ includes a wide array of this sort of imagery, the most striking of which must be Robert Doisneau’s world-famous picture of two lovers kissing on a busy Parisian street. Anybody who has visited the centre of old Paris knows that this appealing environment does exist and, while the images in the show do not reveal the grimier side of life, they are not a total fiction – the cliché was and still is a part of Parisian daily life, the photographers just amplified it.

At its core the exhibition reveals how this amplification in turn led to the dissemination of this ‘look’ of France around the world. Firstly because photographers such as Kertész and Cartier-Bresson became famous, and their pictures were celebrated internationally, but secondly because of a concerted effort in the aftermath of the Second World War. Robert Doisneau and Willy Ronis joined 13 other photographers to form Group XV in 1946, a society that set out to preserve and promote French photographic tradition. They were also passionate advocates of humanist photography, a movement that swept the world after the war. Humanist photographers sought to reveal the poetry and beauty in life, searching for universal truths that would have relevance anywhere in the world. Using Paris as their hunting ground, Doisneau, Ronis and their friends sought such moments among the hustle and bustle of Parisian daily life, thus contributing a new layer of poetic fantasy to the French cliché – particularly as the reality was far grimmer in post-occupation France. As Doisneau famously said, ‘I don’t photograph life as it is, but life as I would like it to be.’ Their aim was to celebrate France, and to focus on the more pleasant things in life – they were successful in part because Paris was such a poetic stage for their project. Published in magazines such as Life, the images that they made were hugely popular both at home and abroad, and helped boost French National pride at a time when it was crippled both spiritually and financially after the War. Their work also helped to crystalise the French cliché in the mind of any viewer that ever felt drawn to the French capital, further enhancing the desirability of Paris the world over.

Information and imagery Courtesy: Beetles + Huxley Gallery

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