Hillside Fence, Study 5, Teshikaga, Hokkaido, Japan, 2004 (Michael Kenna)
“… The job of photography is not to produce decoration for other peoples walls and homes. It’s a real voyage of discovery, and I think it’s an authentic way to go through life. It’s a way of discovering things, finding things, experiencing things …”
Just watched this beautiful film of Michael Kenna making photographs in Hokkaido, Japan. Landscape isn’t really my thing, but I love Kenna’s work. With the cold wintry weather upon us, and the January blues just around the corner, take a look at this film, then pull out the old camera and get into an early morning landscape for some photo therapy!
Click here to view
After two weeks away from computers and email (bliss!), I’m back online and will be updating CorkAP website again. The last few days of the holidays were spent in Caherdaniel, near Sneem in Co. Kerry. I spent four nights there – two with my family, and two with CorkAP’ers Jason, Dee, Sanda and Ann, and our friend Roseanne. Padraig and Brian chickened out. The above photo was taken on Sandas digicam along the Kerry way, and shows us with some heavy duty film equipment – ie my ancient Mamiya, Jasons ancient Russian Leica copy and a cheap and flimsy tripod! I’d love to say that I will post some beautiful shots from the Mamiya when I get them scanned, but I , um, loaded the film the wrong way. Aw well …
By Ann O’Kelly
Photography book review site 5B4 have reiewed Manx photographer Chris Killips new book of photographs of the annual pilgrimages at Croagh Patrick and Maamean. “Here Comes Everybody” features photographs taken over several visits between 1993 and 2005.
“… Killip’s discovery of landscape and tradition is felt throughout. Fences of loose rock piled to delineate property or path are described with the same eye towards beauty as the pastoral views and fog shrouded mountain tops. His pilgrims ascend in small groups and pause in a landscape so idyllic that they teeter on the purely romantic. This is where his construction and sequencing become the most important element holding this book together. His juxtaposition of black and white and color slyly keep us jumping back and forth from past to present, from old tradition to new, preconception and reality. His penitents in their misty struggle upwards are faced on opposite pages with clarity and heavenly crisp light. ‘A fiction about metaphor’ as he has said of past projects is at work here too. …”
Read more at 5B4 here
– By Jim Brindley
By Jim Brindley