The film was bought at The Photographers Gallery; which has Wim Wenders, Instant Stories on at the moment a collect of 200 Polaroids. I didn't fancy looking at that many small images but its on until February so plenty of chances to see it.
As usually I had my RX100m2 with me but I couldn't really see anything worthwhile shooting, this tends to happen to me when I haven't been out shooting for a while.
Crossing over to the Southbank didn't improve things, as the undercoft was devoid of any skateboarders (not surprising on a weekday).
Next stop was the Tate Modern, the Turbine Hall is filled with lots of three seated swings and lent itself to some images of adults on swings.
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| 1-2-3 Swing! |
Not having really having explored the Tate since the Summer of last year, I had a wander around to see if there was anything of interest to me.
The first thing was a giant print by Daido Moriyama called Memory 2012
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| Memory 2012 |
Nowadays we all seem to worry about super sharp images without any noise or grain in them, this image goes to to show the great images don't have to be all about sharpness.
Next up was Stephen Shore's American Surfaces, this is a collect of 72 prints form Shore's road trip across America in 1972., the idea was to explore the country as an everyday tourist. All the images were shoot on a Rollei 35 and Shore shot hundreds of rolls of film, which were then developed and processed in Kodak labs across New Jersey.
Shore's work shows us the a snapshot of life in America in the early 70s, the mundane, the ordinary, the everyday life of motel rooms, grotty lavatories, food on tables, odd people and shop fronts. This series by Shore helps to elevate colour photography to a fine art level, which had up until then the preserve of black & white photography.
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| Stephen Shore's American Surfaces |
One thing I didn't know when I saw these images in their frames and matted in the Tate; that when Shore first exhibited them, he wanted people to know that they were snapshots and they were just stuck to the wall, so that people could see that they were Kodak snaps and he felt it made they a cultural object.
