Most of the times I find my photos in flea markets or at antique dealers. But some times I can find interesting material in the most uncanny ways.
A few months ago I found two cameras, along with a couple of old colour 35mms.
One camera is actually a really neat one and I used it for a while, forgetting about the films.
Till a week ago when I brought them to develop, together with a film I made.
I thought I could probably find some interesting material for this blog…
well, it was surprising…
year I would say short before WWII or in the early stages of the war. The paper the image is printed on is an Agfa Lupex, produced in Germany from the twenties to the postwar period, with wartime markings.
…so yeah, let’s say around the end of the thirties.
It’s a BW photo of a young german soldier, wearing his Luftwaffe uniform, asleep on a train.
The pilot is napping with his head resting on the wooden door of the compartment, his cap still on, mouth open and hands between his legs.
Next to him, on the wooden bench, we spot two feet from another passenger.
The picture has a light vignetting on its lower section.
This is a stolen photograph of an exhausted soldier, probably sleeping while traveling alone from or to a training camp, a barrack or airport in the chaotic times right before the war.
He felt asleep in a morning light, suddenly and without taking off the coat or his cap.
He is surrounded by civilians and despite the uniform he shows innocence and vulnerability.
By propaganda of the time all soldier assumed an heroic, almost epic dimension and whoever took this picture was probably struck by his child-like peaceful sleep.
I like to think that this portrait could have been made by Gerda Taro, on her way to Paris in the early 30’. She was leaving Leipzig, forced by the Nazi regime, traveling alone. She split from her family, escaping from Germany and its antisemitic and authoritarian policies.
She wasn’t targeted just because her religion but also because her political beliefs and commitments in anti-nazi movements and propaganda. She was already been arrested and detained a year earlier, in 1933, and the embittering of the living condition forced her and her family to flee.
In this portrait she might have wanted to show a last glimpse of humanity in a people condemned to follow the maddest of ideologies.
After all she was a war photographer, with plenty of experience already.
She knew she had to be impartial in her work and always able to display the events without involvement, even when deeply personal and painful.
pure peer pressure, pals.
I’ve noticed a lot of new followers here and I don’t really know why. I haven’t be posting for a lot of time, probably because I’m not inspired enough or just because I’m not finding the right pictures to talk about.
to you, new followers, I suggest my other tumblr. my personal one, the one I actually use and update.
also because I don’t think I’m going to many flea market, archives or collections to get new pictures anytime soon.
or you could always send me your found photos , of course…in that case just write me.
pura pressione sociale, ragazzi.
ho notato un sacco di nuovi followers qui e non saprei proprio il perché. non ho postato per molto tempo, probabilmente perché non ispirato abbastanza o semplicemente perché non sto trovando le giuste immagini delle quali parlare.
a voi, nuovi followers, consiglio il mio altro tumblr. quello personale, quello che davvero uso ed aggiorno.
anche perché dubito che prossimamente andrò per mercatini, archivi o collezioni a prendere nuove immagini.
o potete sempre mandarmi le vostre di found photos, ovviamente…nel caso scrivetemi.
yet another blog to add to my list, dedicated just to my personal work as a photographer.
check it out.
7,3 x 10,3
first visit by Jehovah’s Witnesses at my new place, italians in top of that.
well, I guess that makes my moving official.
7,3 x 10,3
year on the back is marked Juli ‘57. an easy one
Per se the picture is nothing odd: a kid and a small child in a big basket/crib. the older one is looking outside the frame while the other is facing the camera.
Small details like the two diverging looks, the open door on the background and the pijamas worn by the kids give the picture the general impression that it wasn’t staged and that the photographer did actually captured an authentic every-day-life moment.
The image presented is familiar though detached.
It suggests an intimate moment ( from the light and what the kids are wearing I think it has been taken in the morning ) but it has the feeling it has been done by someone unrelated with the life within the family.
At a close look the picture gives the impression of a will to record an intimacy wich doesn’t belong to the photographer, but wich is his/her main subject.
It is just a deduction and it could be just one of many family pictures.
Photographers often aim at intimate moments to narrate a story or to record, in a bigger picture, a society.
Whether with the precise goal of portraying a people or summing a career-long awful lot of photos, photographers have managed to give a voice to the place they were living in and the time they were living at.
In Germany, where this photo comes from, there was August Sander.
It could have been he who took it, as he took thousand of clicks of Germans of every age and condition, always with a distant eye and without judging. In this case even a picture of two children is an important piece of the epic and ethos of a nation and its people in the first half of the twentieth century.
with new photos taken and found and a few new cameras as well.
getting herpes due to stress 24 hours before leaving for 21 days of holiday.
year no idea!
The mount is a simple german made Hama-DSR plastic cheap mount. This model has more less been unchanged for the last 40 years.Opening it didn’t help either, the film doesn’t have any clue whatsoever.
I just could guess though, from clothes and staches that it is probably between the seventies and the eighties.
Perhaps the author tried to have two relatives or friends perfectly framed, but he/she actually cut the scene a little too open including enough foreground to weaken the composition of the portrait.
It works as a choral scene though, with anonymous characters repeating the same act of sunbathing, with almost the same pose and expression.
They pose on what looks like the deck of a boat, randomly arranged.
The picture in itself doesn’t narrate us anything. it just freezes a moment between moments in a sequence recreating a surreal static scene.
Picking this precise glimpse could be mere luck as well as a trained eye.
Decontextualise a frame of a sequence in order to expose a funny, bizarre or uncanny view.
It could have been Thomas Hoepker, and his uncomfortably lucid eye for juxtaposition and subtile shocking.
It could also have been Bruce Davidson, thanks especially to his skill to capture a random, every-day-life, urban scene and then transform it in a meticulously arranged set.
maybe I should try to find some new material for this tumblr.
cheez, I really got lazy. and busy.
has the internet any thought about it?
lady in a sphere
year guys, I have no clue. Looking the girl’s style I could say something like mid-twenties or something like that. The negative gives me nothing. Any idea?
from strangeness to strangeness
So, let’s be anal and try just to describe it.
It is supposedly a medium format B&W negative, quite impossible to date, with no marks whatsoever ( it is even impossible to tell the right side to look at it ), of something resembling a locket with a missing part, the picture of a lady with a hat on it, covering another photo.
it doesn’t make sense. none, at all.
The composition is as simple as it is odd. The main object of the picture is a portrait on a unusual support, overlapping another frame. It’ hard to tell the material of the thingy and even the function; it’s also quite impossible to give e description of the covered picture, of which we could see just the corners.
It’s a bizarre photo, with a little nonsense and a lot of allure.
It’s old even if out of time. It evokes without saying.
Both share a strong will of renew, shock and invent. They were looking for a new way of using photography as an abstract art, a new media to be explored in the same years the artistic movements, which then changed Europe, explored all other arts.
It could have been them as it could just be an attempt to portray an actual broken locket or even a nice nonsense joke as well.
the red swimsuit
Kodachrome diapo 35mm
year looking at the kind of mount I could surely suppose something around mid-sixties and early-seventies….and ta daaaaah: as written on the back ” June, the first 1969 “.
The picture is a little disturbing and really beautiful.
The prospective and composition are just given by three of the corners of the frame which portray the pool, all the rest is an abstract blue and someone floating face down.
The highly contrasted and simple colours ( the pale skin in the red suit, floating in a light tone of blue …so long Kodachrome ), the peculiar subject and the relative stillness catch easily the eyes of the observer.
It could be just a joke among kids ( "let’s see how long can I hold my breath" ) or even a sort of willingly weird pose.
Actually there isn’t much more to say, sometimes a snapshot just has it.
In this case I simply find the picture hypnotizing, disturbing and in a strange way joyful.
It could have been a young Nan Goldin, approaching the camera and learning to give her quite and usual point of view to the strangest situations.