David Hurn Photoshoot

Total Page：16

File Type：pdf, Size：1020Kb

David Hurn Photoshoot The ‘100’ Lucky Draw – proceeds to WLCoW Charitable Trust • Purchase one (or more) £30 tickets for a chance to win a photoshoot with World Class Photographer David Hurn (see biography below) • David will travel anywhere in Wales (keeping to COVID rules) to take a family portrait, landscape or other photo choice. • The winner will receive an A4 signed photo from David (extra prints £30) • Tickets are on sale now and once 100 tickets are sold the draw will take place PAYMENT:` • Payment by cheques made out to WLCoW Charitable Trust to Simon Holt, 55 Hendre Park, Llangennech, SA14 8UP. • Please add your name and phone number on back of cheque • Payment by PayPal on the website also available - please email [email protected] to confirm payment and receive your ticket(s). Brought up in Cardiff, David became one of the World Class Magnum Collective photographers. He made his name as a young man documenting the Hungarian revolution and his career as a world-famous photographer and Welsh enthusiasts now extends over 6 decades. His publicity pictures of Sean Connery as James Bond and Jane Fonda as Barbarella are instantly recognised icons. He has worked as photographer with Ken Russel and Dino de Laurentiis amongst other famous names. His Abbey Road series of the Beatles are legendary. More recently he is particularly renowned for his photographs of Wales. He lives in Tintern. He set up the School of Documentary Photography in Newport in 1973 and has supported it ever since. He has generously donated many of his photographs and those of his Magnum colleagues to the National Museum of Wales. Want to know more? Watch, “David Hurn, A life in Pictures”, BBC documentary on https://www.youtube.com/watch?v=am8Kj4dcZuI .

Copy Link

Recommended publications

New and Best-Selling Titles 2015 ‘Reel Art Press Is a Publishing Cult’ ESQUIRE MAGAZINE CONTENTS
New and Best-Selling Titles 2015 ‘Reel Art Press is a publishing cult’ ESQUIRE MAGAZINE CONTENTS Introduction 7 Autumn / Winter 2015 8 Backlist 25 Limited Editions 35 Contact Information 58 One of the greatest pleasures for me when working with artists or their estates is that tantalizing moment, the spark, when a single image, or contact sheet, or long forgotten box of negatives or battered prints promises something special. Diving into the depths of an archive to explore an artist’s brilliance and talent. Our 2015 titles have all given me that unquantifiable moment of excitement when I was certain that something very special could be brought to press and I could not be happier with the resulting editions. My first window into the work of British Magnum photographer David Hurn was in my days as a vintage movie poster dealer, through his work as the special photographer for From Russia With Love and Barbarella. His shots of the stars were the very best of their kind, capturing the icons of the era in all their sixties glamour and cool. Hurn’s photograph of Sean Connery, for example, with his tux and gun in From Russia With Love is one of the most celebrated Bond images of all time, more synonymous with 007 than any other shot. When I began to look more closely at Hurn’s work from the period, one of the things that actually intrigued me most was his non-celebrity work. Hurn is so much more than just another sixties A-list photographer. As Peter Doggett comments in his introduction, “Unlike most of his peers, Hurn delved beyond the fatal attractions of Swinging London and its global counterparts, to pursue his greatest subject: ordinary people pursuing ordinary passions.
[Show full text]
Chronicle-Preview.Pdf
Chronicle V3.indd 1 05/10/2018 16:31 2 Chronicle V3.indd 2 05/10/2018 16:31 Celebrating 40 years in 2018 Dathlu 40 mlynedd yn Image / Llun © Maurice Broomfi eld Broomfi Image / Llun © Maurice 2018 Chronicle V3.indd 3 05/10/2018 16:31 CHRONICLE Published by Ffotogallery 4 Wales Limited Turner House, Plymouth Road, Penarth, CF64 3DH ISBN-13: 978-1-872771-49-6 Writer & Editor: David Drake The Valleys Project Text: Paul Cabuts Publication Design: Oliver Norcott Installation Images: Marc Arkless Cover Image: André Gelpke All images © The Artists All text © The Authors Translation: Siân Edwards, Owen Martell and Sian Jones Printed in Wales by Zenith Media All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the publisher. Published October 2018 Edition of 300 Chronicle V3.indd 4 05/10/2018 16:31 Foreword / 6 Rhagair Our Story / 8 Ein Stori Supporting Welsh Artists / Cefnogi 80 Artistiaid Cymreig Diffusion - 88 Legacy / Gwaddol International 5 Engagement 98 / Ymgysylltiad Rhyngwladol Exhibitions / Arddangosfeydd 114 1978–2018 Publications / Cyhoeddiadau 120 1978–2018 Acknowledgements / 123 Cydnabyddiaeth Chronicle V3.indd 5 05/10/2018 16:31 In September 1978, the first gallery Ym mis Medi 1978, agorodd oriel in Wales dedicated to photography gyntaf Cymru ar gyfer ffotograffiaeth opened in Charles Street, Cardiff, yn benodol yn Heol Charles, under the name Yr Oriel Ffotograffeg. Caerdydd, o dan yr enw Yr Oriel Changing its name to Ffotogallery in Ffotograffeg. Gan newid ei henw 1981, the organisation continues to i Ffotogallery ym 1981, mae’n dal thrive forty years on and is currently i ffynnu ddeugain mlynedd yn establishing a new city centre base ddiweddarach ac mae wrthi bellach in Cardiff.
[Show full text]
TPG Exhibition List
Exhibition History 1971 - present The following list is a record of exhibitions held at The Photographers' Gallery, London since its opening in January 1971. Exhibitions and a selection of other activities and events organised by the Print Sales, the Education Department and the Digital Programme (including the Media Wall) are listed. Please note: The archive collection is continually being catalogued and new material is discovered. This list will be updated intermittently to reflect this. It is for this reason that some exhibitions have more detail than others. Exhibitions listed as archival may contain uncredited worKs and artists. With this in mind, please be aware of the following when using the list for research purposes: – Foyer exhibitions were usually mounted last minute, and therefore there are no complete records of these brief exhibitions, where records exist they have been included in this list – The Bookstall Gallery was a small space in the bookshop, it went on to become the Print Room, and is also listed as Print Room Sales – VideoSpin was a brief series of worKs by video artists exhibited in the bookshop beginning in December 1999 – Gaps in exhibitions coincide with building and development worKs – Where beginning and end dates are the same, the exact dates have yet to be confirmed as the information is not currently available For complete accuracy, information should be verified against primary source documents in the Archive at the Photographers' Gallery. For more information, please contact the Archive at [email protected]
[Show full text]
On Being a Photographer, 3Rd Edition
Photography/Photojournalism $12.95 USD Revised – Third Edition! “A photographer might forget his camera and live to tell the ON BEING A PHOTOGRAPHER tale. But no photographer who survives has ever forgotten the lessons in this book. It is not just essential reading, it’s compulsory.” DAVID HURN/Magnum Daniel Meadows Head of Photojournalism, Center for Journalism Studies, in conversation with University of Wales “A very useful book. It discusses issues which will benefit all BILL JAY photographers irrespective of type, age or experience – and it does so in a clear and interesting manner. I recommend it.” Van Deren Coke past Director of the International Museum of Photography and author of The Painter and the Photograph “I read On Being a Photographer in one sitting. This is an invaluable book for its historical and aesthetic references as well as David’s words, which go to the heart of every committed David Hurn/ on being photographer – from the heart of a great photographer. It is inspiring.” Frank Hoy Associate Professor, Visual Journalism, The Walter Cronkite School Magnum a of Journalism and Telecommunication, Arizona State University “We all take photographs but few of us are photographers. On Being a Photographer talks clearly and cogently about the difference … and Bill Jay photog- the book is rich in practical detail about how to practice as a photographer and to create worthwhile pictures.” Barry Lane past-Director of Photography at the Arts Council of Great Britain and presently Secretary-General rapher of The Royal Photographic
[Show full text]
Coversheet for Thesis in Sussex Research Online
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 UNIVERSITY OF SUSSEX Alice Compton Ph.D Waste of a Nation: Photography, Abjection and Crisis in Thatcher’s Britain May 2016 2 ABSTRACT This examination of photography in Thatcher’s Britain explores the abject photographic responses to the discursive construction of ‘sick Britain’ promoted by the Conservative Party during the years of crisis from the late 1970s onwards. Through close visual analyses of photojournalist, press, and social documentary photographs, this Ph.D examines the visual responses to the Government’s advocation of a ‘healthy’ society and its programme of social and economic ‘waste-saving’. Drawing Imogen Tyler’s interpretation of ‘social abjection’ (the discursive mediation of subjects through exclusionary modes of ‘revolting aesthetics’) into the visual field, this Ph.D explores photography’s implication in bolstering the abject and exclusionary discourses of the era. Exploring the contexts in which photographs were created, utilised and disseminated to visually convey ‘waste’ as an expression of social abjection, this Ph.D exposes how the Right’s successful establishment of a neoliberal political economy was supported by an accelerated use and deployment of revolting photographic aesthetics.
[Show full text]
David Hurn: Arizona Trips Pdf, Epub, Ebook
DAVID HURN: ARIZONA TRIPS PDF, EPUB, EBOOK David Hurn | 230 pages | 26 Dec 2017 | Reel Art Press | 9781909526518 | English | London, United Kingdom David Hurn: Arizona Trips PDF Book In the next photograph, we see such a print of the French modernist artist Henri Matisse, holding and surrounded by doves. It has always put a smile on my face, and a feeling of delight, whilst doing it. Audrey Hepburn in Hats. Leave a Reply Cancel reply Your email address will not be published. Having studied 3D Design, she has spent the last ten years working in design journalism. Wales Online. In , one year after he entered the world of photography as an assistant at the Reflex Agency, the young image-maker hitchhiked to Budapest to document the tumultuous uprising, then in full swing. Your order is now being processed and we have sent a confirmation email to you at. Report incorrect product info. Ffoton Wales. So, this is where what has become a collection second to none, and valued at over three and a half million pounds. Winter cactus garden. This commercial body was founded in Paris in He was raised in Cardiff , Wales. The peace and tranquility that Cartier-Bresson captures is almost poetic. Whilst a freelance photographer he gained his early reputation with his reportage of the Hungarian revolution. David Hurn: Arizona Trips Hardback. The woman in the field is sending off Bobby Kennedy, a man who fought against oppression. He also compliments the skill of his friend Don by saying that the trust that the subject has for the photographer is exemplified by the fact that she is looking directly at the photographer, allowing such an intimate portrait to be taken.
[Show full text]
David Hurn Photoshoot
David Hurn Photoshoot The ‘100’ Lucky Draw – proceeds to WLCoW Charitable Trust • Purchase one (or more) £30 tickets for a chance to win a photoshoot with World Class Photographer David Hurn (see biography below) • David will travel anywhere in Wales (keeping to COVID rules) to take a family portrait, landscape or other photo choice. • The winner will receive an A4 signed photo from David (extra prints £30) • Tickets are on sale now and once 100 tickets are sold the draw will take place PAYMENT:` • Payment by cheques made out to WLCoW Charitable Trust to Simon Holt, 55 Hendre Park, Llangennech, SA14 8UP. • Please add your name and phone number on back of cheque • Payment by PayPal on the website also available - please email [email protected] to confirm payment and receive your ticket(s). Brought up in Cardiff, David became one of the World Class Magnum Collective photographers. He made his name as a young man documenting the Hungarian revolution and his career as a world-famous photographer and Welsh enthusiasts now extends over 6 decades. His publicity pictures of Sean Connery as James Bond and Jane Fonda as Barbarella are instantly recognised icons. He has worked as photographer with Ken Russel and Dino de Laurentiis amongst other famous names. His Abbey Road series of the Beatles are legendary. More recently he is particularly renowned for his photographs of Wales. He lives in Tintern. He set up the School of Documentary Photography in Newport in 1973 and has supported it ever since. He has generously donated many of his photographs and those of his Magnum colleagues to the National Museum of Wales.
[Show full text]
Études Écossaises, 19 | 2017 the Uncanny in Writing the Picture (2010) by John Fuller and David Hurn 2
Études écossaises 19 | 2017 Scotland and the Sea The Uncanny in Writing the Picture (2010) by John Fuller and David Hurn De l’inquiétante étrangeté dans Writing the Picture (2010) de John Fuller et David Hurn Aurélien Saby Electronic version URL: http://journals.openedition.org/etudesecossaises/1306 ISSN: 1969-6337 Publisher UGA Éditions/Université Grenoble Alpes Printed version ISBN: 978-2-37747-001-3 ISSN: 1240-1439 Electronic reference Aurélien Saby, « The Uncanny in Writing the Picture (2010) by John Fuller and David Hurn », Études écossaises [Online], 19 | 2017, Online since 01 April 2017, connection on 08 September 2020. URL : http://journals.openedition.org/etudesecossaises/1306 This text was automatically generated on 8 September 2020. © Études écossaises The Uncanny in Writing the Picture (2010) by John Fuller and David Hurn 1 The Uncanny in Writing the Picture (2010) by John Fuller and David Hurn De l’inquiétante étrangeté dans Writing the Picture (2010) de John Fuller et David Hurn Aurélien Saby So many photographs produce a sense of strangeness in the minds of the viewers that it almost rises to the level of a characteristic common to fine photographs. Certainly, in so many pictures, it is an important, even crucial, element in their success. (Hurn & Jay, 2000, p. 53) 1 David Hurn (b. 1934) has always been drawn to unusual landscapes, especially unexpected scenes captured in the Welsh daily life of his fellow citizens, whether in his village, Tintern, in the streets of Cardiff, or at a seaside resort. And so has John Fuller (b. 1937), a keen observer of uncanny littorals: So we stare down the littoral, Just as we calculate the night, For stalactite or meteorite, Behaviour of stone or light Departing from the ususal.1 (“Star-Gazing”, in Fuller, 2012, p.
[Show full text]
Microfilms International 300 N
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photograpned, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
[Show full text]
Media Release Deutsche Börse Photography Foundation
Media Release Deutsche Börse Photography Foundation Frankfurt am Main, 24 October 2017 Deutsche Börse Photography Foundation hosts “Magnum Photos at 70: Past – Present – Future” 70th anniversary event on 24 and 25 November at Leica Camera Frankfurt Renowned photography agency Magnum Photos celebrates its 70th anniversary this year. The Deutsche Börse Photography Foundation is honouring this milestone by holding a special event in Frankfurt together with Magnum Photos and Leica Camera Frankfurt. The celebratory programme focuses on the origins of the agency as well as its latest developments, and will enable interaction with international photographers, who will reflect on both, their association with the cooperative and their own individual works. The event will be kicked off with a symposium on the evening of Friday, 24 November at the Leica Gallery Frankfurt. Panel discussions with the three Magnum photographers Thomas Dworzak, David Hurn and Newsha Tavakolian will provide an insight into the world of Magnum Photos. Additionally, Zurich filmmaker Marco Bischof will show excerpts from his project “Magnum Time”. The interviews he filmed with legendary Magnum members including Martin Parr, Bruce Gilden, Thomas Hoepker, Ian Berry, Chris Steele Perkins, Inge Morath, Rene Burri and Bruce Davidson give a deep insight into the history and philosophy of Magnum Photos. Another focal point will be the future of the photography group, which was founded in 1947. The symposium will be hosted by Anne-Marie Beckmann, Director of the Deutsche Börse Photography Foundation, and Marco Bischof, filmmaker and son of Magnum photographer Werner Bischof. In addition to the weekend event, Leica Camera Frankfurt will also be exhibiting photographs by nine new Magnum members from 24 November to 9 December.
[Show full text]
Polysèmes, 21 | 2019 John Fuller in Collaboration with David Hurn and Others to Rebuild Childhood
Polysèmes Revue d’études intertextuelles et intermédiales 21 | 2019 (Re)constructions John Fuller in Collaboration with David Hurn and Others to Rebuild Childhood in Times of Crisis Aurélien Saby Electronic version URL: http://journals.openedition.org/polysemes/5078 DOI: 10.4000/polysemes.5078 ISSN: 2496-4212 Publisher SAIT Electronic reference Aurélien Saby, « John Fuller in Collaboration with David Hurn and Others to Rebuild Childhood in Times of Crisis », Polysèmes [Online], 21 | 2019, Online since 30 May 2019, connection on 11 June 2019. URL : http://journals.openedition.org/polysemes/5078 ; DOI : 10.4000/polysemes.5078 This text was automatically generated on 11 June 2019. Polysèmes John Fuller in Collaboration with David Hurn and Others to Rebuild Childhood ... 1 John Fuller in Collaboration with David Hurn and Others to Rebuild Childhood in Times of Crisis Aurélien Saby The chimneys have fired their guns And the tower has rung its bell Where chimes that hung in tons Made the turf tremble. Wherever there are boys And a bit of grass or a wall You’ll find arms and legs and a noise About nothing at all. John Fuller, Writing the Picture, 86 1 John Fuller’s poetry involving children is often fraught with tension, notably threats relating to the passing of time (“the tower has rung its bell”), or to looming heavy structures making “the turf tremble” while some boys are happily playing on “a bit of grass”. Although Fuller wrote several books for children, this article will exclusively focus on his poetry for adults about childhood, and more precisely on texts inspired mostly by photography, but also on lines composed to be set to music.
[Show full text]
Some Photographic Myths Article
(This is a copy of an article in the March/April 1999 Issue of Photo Techniques Magazine) March/April 1999 In this article we want to touch on a several issues that seem confusing to many photographers with whom we’ve talked over the years. All of these myths deserve even more detailed treatment than we’ve given them, but we hope our joint comments will serve to open discussions and debates between you and your friends and colleagues. Myth No. 1: Photographers are the best editors of their own work No. The myth is that the best photographers are the only ones who have the insight and ability to select the best images of their own work for publication or exhibition. In the same way that writers are enhanced by a close relationship with a good editor, so a photographer can benefit from the insights of a good picture-editor. This myth arose because the photographer is often too close to the subject matter, invests the content with emotion which might not be present in the picture, and believes that in order to be “true to myself” he or she has a special insight into the work. But the best editors or selectors of images are those who are capable of divorcing themselves from emotion when judging their own (or others’) work and assessing picture merit dispassionately and with cold logic. Some photographers of the highest rank are capable of this detachment; most are not. Indeed, many of the best picture editors are not photographers at all. An instructive example of this myth is the career of W.
[Show full text]