Beneath the cobbles, the …err…bicycle?

I suppose photography can be political. Today’s post is an act of rebellion and a riposte against a dear friend who declared that cyclists should be banned from all public highways. This statement was of course accompanied by a suitable range of curses. So, I suddenly feel moved to make my protest against this private conversation public by uploading a few cycle shots from my hard drive to champion that great unsung hero of the metropolis: the bicycle. Long may it live and prosper and long may it occupy public space! Bicycle


This next, rather wild, one might be a bad omen for my attempts to blog regularly. The last time I tried to start photo-blogging it was the first picture I uploaded (and possibly the last). Nothing looks like film (sigh):






« All of a sudden something appears. For example, a door opens, a butterfly passes beating its wings. Simply this nothing», writes Georges Didi-Huberman on the beautiful yet always fragile logic of apparition in his Phalènes: Essais Sur L’Apparition, 2, (Paris: Les Éditions de Minui, 2013). With their restless anamorphisms, shadows, the wonderful, fragile, shape-changers that they are, make wonderful apparitions. But what I perhaps like best about them is that they don’t suddenly appear: they creep up on you first, and then BAM! You have your shadow. And then…nothing; they vanish back to where they came from.

This one is actually a homage to Victor Hugo (see his L’Ombre du mancenillier).Shadows-2

I find shadows of trees particularly lovely, so perhaps this post ought also to be a homage to the trees of Paris:








Men in hats

Filmothèque on rue Champollion in Paris is the place to go for classic movies including those made in the days before it was all cgi, when film still seemed to have some authentic magic. Sometimes they show even older films, made in the days when real men wore hats. This is an old photograph, taken when I walked past and spotted this dapper looking hat-wearer tarrying with the fantasies of the silver screen some time around November or December 2010.

« Seeing is not enough; you have to feel what you photograph » – Andre Kertesz