{"id":2023,"date":"2007-06-20T00:58:08","date_gmt":"2007-06-19T23:58:08","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=2023"},"modified":"2008-07-21T18:27:33","modified_gmt":"2008-07-21T17:27:33","slug":"the-temples-of-angkor","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2007\/06\/20\/the-temples-of-angkor\/","title":{"rendered":"The temples of Angkor"},"content":{"rendered":"

\"angkor.jpg\"<\/a><\/p>\n

The Temple of Bakong (2001). <\/em><\/p>\n

The temples and ruins of Angkor Wat and Angkor Thom are effortlessly photogenic, so much so it seems impossible to take a bad picture of them. John McDermott’s photographs<\/a> are especially fine, not least because he’s used infra-red film<\/a> which always gives foliage a peculiar luminous appearance. Simon Marsden<\/a> is the big populariser of this technique with his many photographs of ruins in Britain and Ireland.<\/p>\n

Previously on { feuilleton }
\n\u2022 Adolph Sutro’s Gingerbread Palace<\/a>
\n\u2022 The Jantar Mantar<\/a>
\n\u2022 Hungarian water towers<\/a>
\n\u2022 Karel Plicka’s views of Prague<\/a>
\n\u2022 Atget’s Paris<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

The Temple of Bakong (2001). The temples and ruins of Angkor Wat and Angkor Thom are effortlessly photogenic, so much so it seems impossible to take a bad picture of them. John McDermott’s photographs are especially fine, not least because he’s used infra-red film which always gives foliage a peculiar luminous appearance. Simon Marsden is … Continue reading “The temples of Angkor”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8,51,12],"tags":[2410,146],"class_list":["post-2023","post","type-post","status-publish","format-standard","hentry","category-architecture","category-cities","category-photography","tag-adolph-sutro","tag-prague"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-wD","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/2023","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=2023"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/2023\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=2023"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=2023"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=2023"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}