Sapori al Ducale, Genova

I happened to be in Genova on a weekend when the food market, known as Sapori al Ducale, was open and trading.

Researching it, I discovered that the food on display came from farms and food artisans located all over Italy.  You can imagine the quality ... it was mouthwatering. 

There were oil producers, all kinds of wines and spirits, cheese, cold meats, sausages, honey, preserves, handmade pasta, desserts and organic produce, just to mention a little of what I saw there. 

It is surely a place where' passion, professionalism, tradition and history' come together.


Main Street, Genova.

And now I am in a beautiful city, in a truly beautiful city, Genoa.  I walk on marble, everything is marble: the stairways, the balconies, and palaces.  The palaces are so close they almost touch and from the street, one can see noble ceilings, all richly painted and gilded... 

Here I open my eyes wide on everything, innocently, simply ...'

Gustave Flaubert.

There are streets like this in Genova ...

Via XX Settembre is a street that always makes me want to stop and attempt to capture something of the light. 

It's still beautiful even when it rains.

Portrait Photography

Above all, life for a photographer cannot be a matter of indifference.

Robert Frank.

I love portrait photography. 

I enjoy people intensely and I think that informs the work that I do.  

My intention is always to show the person just how beautiful they really are ... without Photoshop.  No intervention required.  Really, show me something of your true self, something of your soul ... trust me, and I'll show you you. 

Not that those words are ever stated.  And as a photographer you need permeable boundaries on your own self.  It's good if you're gentle.  Be willing to show some of your soul too. 

Portrait photography, at it's best, is an exchange.  And it's about trust. 

I met a remarkable woman yesterday and I can't wait to write of her work here.  More to follow, just as soon as her website is up. 

Life as a Cascade ...

Last Thursday Peter and Julie arrived. 

Actually, I should write ... the fantastically talented Tenor, Mr Peter Furlong, and the exquisitely talented  Julie Wyma, Soprano, arrived last Thursday.

They were here for a private performance.  Hosted by lovely friends, Ruth and Marc, all reports tell me that it was very very well-received.

But back to the beginning of this cascade, this avalanche of people and events ... on Saturday, the incorrigible Baritone and Pianist, Chas Elliot arrived to stay too.  Meanwhile, Gert's parents were celebrating their 50th wedding anniversary and there I was, on Saturday night, abandoning our guests to eat my first-ever Thai meal, at the Sombat Restaurant here in Antwerp.

Without exaggerating (I may say that often in this post), I can tell you that it was the most exquisite meal ...

Sunday.  I wandered off to Brussels to capture a First Communion celebration for Irish/English friends. It was just lovely.  The people were some the of nicest people you could hope to spend time with and the weather was perfect.

Sunday evening, a small nap on the train home before meeting up with Gert and heading over to Marc and Ruth's house for dinner ... where we caught up with the 3 opera stars, who had managed to impress their Antwerp audience.  We were all exhausted but very happy.

And suddenly, NYC was in the building.  Stefano and Shannon would surely have loved it.  'Dawg' and 'cawfee', and other 'w' words, flew round the table.  And then came the stories.  No one can tell stories like those three.  It was hilarious.

All of this AND Marc was sharing his quietly spectacular supply of red wine from Puerta Del Sol.  Las Ocho 2009, from Bodegas Chozas Carrascal would have to be the most divine red wine I have tasted ...  Ever.  It was that good.   I'm not exaggerating.  Not at all. 

Actually, when a wine is really good there is no hangover and it's true, on Monday we were all fine.  Exhausted because we had pushed ourselves as artists but no hangover. 

Monday.  We talked but lacked the will to attempt much.  Chas managed to leave after expressing a desire to stay but I'm sure he'll be back.  Peter and Julie had a round of meetings with various people in the afternoon and then we had the good fortune to end our day at Puerta del Sol

Well yes, that is the wine shop I love best in the world.  They import Spanish wine to Belgium but only after rigorously checking the quality.  Guy, Frank, and Jules really love Spanish wine, and Spain too.  It shows in the quality of what they sell.  (No, they really don't pay me to  write things like this.)

Today it's sunshine and laundry for me, and quite some work to catch up on...still.  I've sent Julie and Peter out to the park to relax before they return to their Berlin world tomorrow.  I think we're just all really pleased with how this week has unfolded.  The ongoing nature of good people, fine wine, and experiences that were kind of divine.

They will be back.  And maybe I can organise my next party around them and their remarkable voices. 

Meet Peter ...

 

 

Early Morning, Rome

My cousin and I were up early one morning in Rome.  And we wandered, cameras in hand, in love with the light. 

And we crossed the River Tiber and I caught this reflection ... this blur, and looking at it today it seems like a beautiful abstract painting.  The kind I would so love to paint.  I am hungry for colour in these days.  The winter was long.

Cheese Burger Pizza ... extraordinary!

We were introduced to the concept of a cheeseburger pizza in Fox Glacier township, on the wild West Coast of New Zealand's South Island.

Oh my goodness.  I cannot tell you how delicious it was!

The people at Cafe Neve were fairly modest about it all but it was stunning.

Fast-forward and here we are, back in Belgium.  Gert decides to whip up a pizza base, wanting to recreate a cheeseburger pizza.

All his own work ... a cheeseburger pizza Belgian Bloke style.

 

The Problem with Mr Toad ...

He's a rebel.  He wants inside ... our Mr Toad.

Now the warmer days have finally arrived, I have the door to the garden open.  Well, I want to have the door to the garden open but picking up a toad and repeatedly carrying him back outside just isn't my idea of a good time. 

Nope nope nope!

So far, he has jumped all barricades placed in his path.  He's an Olympic toad. 

His goal is my kitchen.

I don't even want to know why.  He hides, he hops, he tries to evade capture.  I admire his tenacity but really, I prefer him outside.

I photographed these two the other day.  They tolerate me wanting to photograph them ... just.

 

Etel Adnan, a Remarkable Woman

Etel Adnan was born in 1925 and raised in Beirut, Lebanon. Her mother was a Greek from Smyrna, her father, a high ranking Ottoman officer born in Damascus. In Lebanon, she was educated in French schools.

She studied philosophy at the Sorbonne, Paris. In January 1955 she went to the United States to pursue post-graduate studies in philosophy at U.C. Berkeley, and Harvard. From 1958 to 1972, she taught philosophy at Dominican College of San Rafael, California.

Based on her feelings of connection to, and solidarity with the Algerian war of independence, she began to resist the political implications of writing in French and shifted the focus of her creative expression to visual art. She became a painter. But it was with her participation in the poets’ movement against the war in Vietnam that she began to write poems and became, in her words, “an American poet”.

In 1972, she moved back to Beirut and worked as cultural editor for two daily newspapers—first for Al Safa, then for L’Orient le Jour. She stayed in Lebanon until 1976.

In 1977, her novel Sitt Marie-Rose was published in Paris, and won the “France-Pays Arabes” award. This novel has been translated into more than 10 languages, and was to have an immense influence, becoming a classic of War Literature. In 1977, Adnan re-established herself in California, making Sausalito her home, with frequent stays in Paris.

In the late seventies, she wrote texts for two documentaries made by Jocelyne Saab, on the civil war in Lebanon, which were shown on French television as well as in Europe and Japan.

Extract, the website of Etel Adnan 

Searching for information about Etel Adnan also led me into an interesting world that left me wanting to stay and read a while.  And there was another book too, Sea and Fog.

I took this photograph of her at the TASWIR Exhibition.  I was off to one side, taking photographs while she was interviewed.

My camera was filled with interesting people during those months on the project.

A little more on documentary photography

I wanted to come back to documentary photography once more and just say, never stop watching.  For me, it's a little like hunting ... perhaps. 

I don't go in with a plan beyond the attempt to capture the story.  To tell it true.  I picked up a 3-day documentary shoot, over on Flanders Fields, working with the New Zealanders a few years ago.

The image that follows is one of my favourites and I have to confess, it really was about swinging round and capturing this exquisite moment without thinking too much about settings.  A hongi ... a Maori greeting, was being exchanged. 

I had been traveling in France with the New Zealand veterans the day before and so they knew me a little. The New Zealand London Rugby Club were playing a commemoration match in Zonnebeke. 

Moments like these make documentary photography a big love of mine ...

 

 

On Documentary Photography ...

Her photographic work is magnificent and I love her presence: her portraits are stunning, they expose intimacy, humor, and pensiveness; her photographs capture the space, the movement, human interaction deliciously, in a way that one feels invited to an event long after it disappeared from the public scene.

In all her unobtrusiveness when working with the camera, Di is great fun to hang out with, the artists, scholars, thinkers, curators of our Berlin exhibition highly appreciated her, and when working together in Cairo, Istanbul, Berlin, or wherever else, I enjoy her kindness, humor, and delightful presence.

Shulamit Bruckstein, Curator, director of TASWIR projects / ha’atelier

Shulamit wrote this after a series of projects together and, in so many ways, lays out what I want to achieve as a documentary photographer.

I believe I need to be unobtrusive, invisible ... disappearing into the moment I have been asked to capture.  At the same time I believe that there are going to be people I need to engage with.  It's about building trust, if there's time.  It's about being respectful - I want people to enjoy my work afterwards. 

I prefer to wear dark clothes and quiet shoes.  I carry cough drops and tissues.  Nothing about me should stand out or distract people from the event.  I don't make eye contact when I move around ... unless I need to or unless I find a 'favourite'.  A favourite is someone who embodies something of atmosphere ... the event.  And there is always someone.

I love my flash.  It's a Canon Speedlite 580EX II and over the years we've become good friends.  I know how to twist and turn it, to bounce light and avoid shadows.  I work with my favourite lens most of the time, a  Canon EF 70-200mm 1:4L.  Some people get hung up on the latest equipment but I simply love whatever works for me.  This lens is my baby.  Attached to my Canon 5D Mk II ... it's magic.

I prefer to zoom because it allows me to stand back, on the edges, while still getting up close and personal without people realising that it's all about them.

Documentary photography ... unobtrusiveness, respect, the building of trust, connections, communication.  It's all of that and more.  I love it.

I found the words ...

I believe that our way of 'seeing' the world is as unique as our fingerprint. I believe that the technical elements of photography are simpler than most people realise. With this in mind, I am offering photography workshops, women only.

You will receive a pre-course workbook that invites you to explore and come to know your camera via a series of simple exercises, with virtual assistance from me, if necessary. Then we come together, one-on-one or as part of a very small group, to put those new skills into practice out in the city, to create images that reflect your way of seeing and experiencing the world, and to develop your confidence with your camera.

Contact me.

Photographing People

I've been preparing for the photography workshop in Genova, thinking about all the things I know ... and finding stuff I didn't realise I knew.

When I make notes on portraiture, I include words like Trust and Respect.  Empathy.  Patience.  Engagement. Authenticity.

And it's not about acting or demanding or insisting.

People, when they're being photographed, are often fragile. They feel broken open, exposed, vulnerable.

You're asking them to show a little of their souls, to give you themselves in a relaxed state of being.

People often tell me they photograph badly but no, I think no one 'photographs badly'. I have this theory that it is a failure on the part of the photographer, to relax their client.  To engage.  To earn their trust.

When I work on a portrait shoot, I am almost skinless.  I don't want to be the boss, to be in control, to demand this expression, that pose, this place.

I want to go someplace my client loves.  A space where they can relax and feel comfortable.  I want to talk, and maybe walk a little.  I want to know who they are and how they want to be perceived.   I want to discover and capture their best selves.  The self they know and recognise. 

Sometimes, if it's a family portrait, I have asked the mum for a follow-up shoot alone because when you're a mum and a wife on a family shoot, you can miss out on being you.  Your own private individual you ... before you took on all those roles.

And it works.  I have photographed some beautiful strong confident women when they're off-duty as everything else.

Kids are something else again.  You need to engage, it needs to be fun, you need to be real.  They will know.  Bubbles have saved many a shoot when a child has grown bored or tired. 

Portraiture is all about a lot of things ... and then relaxing and enjoying that time spent together.  It's about gifting someone the beautiful things in them, and everyone has something. 

Love Notes from Sahara

An old ice cream container appeared behind me, outside my office window, yesterday.  It was hanging from a long thin piece of green string.  Little Miss 8 casually asked me if I had noticed that there was 'something' out there.

I looked and found a little love note that had come from the kidlet who lives above me and I replied, then called out to let her know that she had mail too.  She hauled it and and so it continued till bedtime. 

The notes from upstairs always come with small gifts.  A piece of costume jewellery, a perfume-soaked piece of cloth, and there is always another note.

I sent up a beautiful cockle shell from my desk and then later, as a grand finale, a glue stick.  This morning she came down to breakfast bemused ... 'You sent me a glue stick?

I did.  Was there a problem, I thought you could maybe use one up there in your room?

This morning, to lure her back upstairs to clean her room, I announced there was mail, having loaded two pieces of green chewing gum and a horse picture to colour into the 'basket'.

I wonder how things will proceed today but I think I'd best take this seriously ... no more glue sticks, for sure.

I photographed the note using the camera in my new phone.  I am cautiously adjusting to the touchscreen and all the other wonders of mobile phones in the 21st century. 

Sunshine and the promise of 16 celsius by Saturday.

Good morning.

 

Diana Strinati Baur, True Vines (and writing a book review)

I finally reached university when I was 34 years old.

I hadn't known to dream it when I was young.  My people didn't have a history of university attendance but I was a natural  researcher, a terribly curious child who became an intensely curious woman. 

My first husband suggested the marriage owed me a degree as I had followed the development of his career, moving around New Zealand's South Island over the years.

And so I began.  I dived into literature, wanting the papers necessary to apply for Bill Manhire's creative writing course.  I explored film studies, psychology, and archaeology along the way.  Then I discovered social and political anthropology and detoured off into that seductive discipline.

Degree complete and realising that there wasn't much work in New Zealand (population 4 million), divorced, and having lost my mother along the way, I set out for Istanbul.  To teach English, of course, like so many good kiwi students looking for work and experience.

Ten years later and here I am, a photographer, a writer, a woman of dual-nationality living in Belgium.

All that to introduce today's story.  Last year, one of my favourite people published her first novel. I packed it, back in November, and read it as I traveled the 16,000kms+ home ...

Home for the first time in 8 years.  But the book pulled me in anyway, despite all that was going on in my head.  I recognised situations and characters, I knew that feeling of expat dislocation ... of not being sure of where home was anymore.

And then I arrived in NZ, put the book down, and spent 5 weeks wandering my old worlds, spending time with family and friends while sinking into that landscape I love more than any other.  There were roadtrips and beaches, mountains and forests, there were bush walks, jet boat rides, rivers ... everything you can imagine and more.  And friends, so many really kind friends.

I arrived back in Belgium ... that other home, to a life that demanded quite a lot of me.  4 hours on public transport twice a week, 2 hours on the other week-days.  And more.  And housework.  Life ... just the usual messy demanding life we all lead but I found it incredibly difficult to settle.

And the book review I wanted to write kept being put to one side.  I knew, part of it was that I had no space in my head for writing ... most definitely not even for serious review-style reading.  Time passed, it sat there on my shoulder, poking me occasionally, waiting.

Back at university we knew that to write an essay worthy of an A+, we needed to adopt a written language we called wankspeak.  Delightful I know but it was a way of recognising the elevation of language required to be truly worthy of an A+.

It terrified me.  I love poetic prose and always understood that that wouldn't get me an A+.  I developed a kind of nervous tic when it came to formal writing ... I required time, usually an extension on date due, and much misery.  You could say I developed a certain technique that got me through with maximum suffering.

Back to the present and somehow I had decided this book review needed to be worthy of an A+.  I should have pulled that idea out of my head at some point, discussed it with someone, had them say, Di, it's not about earning an A+.

Today, more than 4 months after opening the book, I decided it was time.  And I wrote.

I was stunned to find that I didn't need to reread the book, making notes and laboriously researching secondary sources.  I was stunned to realise that Diana's book had remained inside of me ... like the story of an old friend that I hadn't forgotten.  And that I understood, somewhere deep inside me, that it wasn't about wankspeak ... it was simply about tellling my truth.

Imagine that!

Anyway, let me introduce you to Diana, or a glimpse of her, via the photograph below.  Taken in Genova in October last year ...