One of Faig Ahmed‘s melted Azerbaijani rugs.
• “I asked [William Burroughs] about the future of typography and he said that letterforms would go back to hieroglyphs, similar to the ancient Egyptians.” Jonathan Barnbrook discussing the thinking behind his design for blackstar, the new David Bowie album.
• “…a thick, yellow fog fills the air, sinks, crawls on the very ground; at 30 paces a house or a steam-ship look like ink-stains on blotting paper.” PD Smith review London Fog, a history of the capital’s lethal pea-soupers by Christine Corton.
• At Rue Morgue: Dejan Ognjanovic asks seven writers and editors why HP Lovecraft is still relevant. Related: big thanks to Paul Gallagher for plugging my Lovecraft calendar at Dangerous Minds.
• Some end-of-year weirdness from Moon Wiring Club: Into The Chattering Ground, a sample of the new releases available at the MWC website.
• Elaine Lustig Cohen: accidental graphic designer. Related: book covers and other designs by Elaine Lustig Cohen.
• The tomb that architect John Soane built for his wife inspired the shape of Gilbert Scott’s red telephone box.
• Mix of the week: Stephen O’Malley at the controls of Stuart Maconie’s Freak Zone on BBC Radio 6.
• At Dirge Magazine: S. Elizabeth talks to Alice Rogers about art and occultism.
• Simon Callow on taking 25 years to write a three-volume life of Orson Welles.
• Todd Haynes on Cate Blanchett, Saul Leiter and Queer Cinema.
• Le Freak (1978) by Chic | Freak (2003) by LFO | Jovan Freak (Rune Lindbaek Nomaden Mix) (2012) by Georges Vert
Portrait of Jessie M. King by J. Craig Annan (autochrome).
I don’t recall having seen a photo of artist Jessie M. King prior to this so it’s an additional surprise to find one in colour. All these examples are from Colour Photography: and other recent developments of the art of the camera (1908), one of the many books edited by Charles Holme from features in The Studio magazine. Needless to say, not all the entries are colour but a number of the monochrome plates have their own qualities, such as that painterly effect which so many early photographers were eager to cultivate. Anyone familiar with Gertrude Käsebier’s very painterly The Crystal Gazer, famous for its appearance on the cover of a Cocteau Twins sleeve, may like to know that two more portraits by Ms Käsebier are included in Holme’s selection. For a look at more recent attempts to match the effects of painting with the camera, see this piece by Rick Poynor about the remarkable work of Saul Leiter.
A Tangle After a Storm by Walter Bennington.
A Late Winter Sun by Dr. H. Bachmann (gum print).
Continue reading “Colour photography, 1908”