Isaac Griberg’s “Vortex”

I first see it on Facebook. Then it is featured as Editor’s choice for 500px. A remarkable photo. Here it is…… Isaac Griberg’s “Vortex”


This photograph is perfectly composed. It is clean. It is full of intrigue whilst being intensely mathematical. Although I know it is a staircase in a carpark, it could be an engineer’s view of some massive turbine built to move lakefuls of water through those huge Swiss mountains. It generates a feeling that I will get sucked in to a tumbling whirling nightmare. It also oozes fractal forms from the natural world. Am I inside the shell of a mega-mollusc with each step representing a another slow year of life?

And I love its yellowness. Bravo, Isaac!

The remarkable “dramagraphy” of Michel Lagarde

“You will never see anything like it” I was told. Oh yeah? Can another exhibition of photoshopped images really be that amazing? Anyway, I hopped on a tram for a squizz at the current exhibition at the discrete but discerning photographic gallery Espace Cyril Kobler. I have never seen anything like Michel Lagarde‘s “dramagraphies.” I repeat: I have never seen anything like it! I thought I knew about Photoshop. But this stuff is funny, charming, bizarre and, importantly, technically perfect.

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Les Emigrants

The first piece that catches my eye – because it is so topical at present – is “Les Emigrants.” Fourteen men in old style music-hall clothes are packed into a tiny steam-driven tug boat. Most peer forward. One is the captain. One is trying to catch fish. Others are in a dispute of some sort. One looks directly at the camera utterly surprised. The scene makes me laugh but at the same time, I wonder what the story is. The black and white image is clear and crisp. The whole thing is like a beautifully composed frame from an old silent movie.

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I look more closely. All the men are the same man! O… M… G… How did he do that?

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“L’Escamoteur” shows a kind of behind-the-circus scene where some scruffy old guy is tricking another in a top hat with the old ball and three cup trick. The gendarmes look on; they are clearly amused but at the same time try to give the impression they have seen it all before. While their attention is diverted, bets are taken and a pocket-watch is picked. It makes me laugh out loud.

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Again, all these characters are the same person. Now I understand. These “dramagraphies” are also carefully staged self-portraits. My admiration for Monsieur Lagarde is growing.

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Quand la mer monte

The two figures in “Quand la mer monte” are, inevitably, Michel Lagarde himself. At this stage, I really want to know more. After extending a warm welcome Cyril Kobler himself, explains the technical aspects of these images. Indeed, part of the exhibition shows the multiple precise steps in their construction. All were completed between 2009 and 2014.

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Lagarde was originally a designer of theatre sets and so has always worked with models. For his “dramagraphies,” he starts with making a model and takes a photograph of it. M. Kobler shows here the single model used for “Quand la mer monte.” From this starting point he uses Photoshop to alter this image and, in this case, re-insert it in perfect perspective. He then introduces other elements including the self-portraits. Everything including all light and shadows are precisely layered in. The final fantasmagorical output is the result of hundreds of carefully composed image-files, gigabytes of data storage and anything between twenty and forty days work. Lagarde’s beautiful stuff is a wonderful constellation of love of theatre, imagination, story telling, lighting and total mastery of Photoshop.

The photographic work of our host, M. Kobler, is also well known. He admits he might be viewed as a traditional. So here he is, putting on an exhibition that is not of photography but uses photography. How does he feel about Lagarde’s work? He is full of admiration. He sums it up in two words. “Truly remarkable!”

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El Publico

My favourite, “El Publico” has at least 18 self-portraits. It shows an unruly theatre audience unable to contain its excitement in the stalls. You can hear the shouts and the trumpeting. However, the on-stage action is not in view. These guys have just witnessed something they have never expected to see. Something terrifying. Something outrageous. My guess is that the two halves of the magician’s beautiful assistant who was brutally sawn in two has miraculously reappeared on stage in tact and smiling!

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These three Lagardes show their fright, cynicism and astonishment.

This is a must-see exhibition. So get on the number 12 tram. Get off at “Peillonnex.” Take the family. Take your friends. You will never see anything like it!

Five photographers at Galerie Cimaise

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The recurring problem with exhibition openings at Galerie Cimaise is that they are so popular! I manage to squeeze in the door. There is a buzz in the air. With “Entre deux mondes” the discerning Mourad Ghedira, with the help of Aline Kundig and Nicolas Spuhler, serves us a delicious cocktail of works by five photographers whose images take us to other worlds. (And the wine is exquisite!) Bravo Mourad!

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On walking in, I am greeted by Carolina Lehmkul’s chic, cool and feminine “Blink 1″, “Blink 2″, “Blink 3″ and “Blink 4″.

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Immediately on my right is “Douceur discrète” by Sylvie Schaffhauser. I am intrigued by this delicate, fragmented and uprooted image. It leaves me uneasy. It is the first of Mourad’s sales this evening.

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One wall is dedicated to four diptychs by Susanne Echeverria; each comprises a square portrait and a square landscape. These two juxtaposed images are “Indiscernable trouble.” My mind skips back to my childhood on the wet and grey flatlands of Britain’s East Anglia …. and to a childhood sweetheart.

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This busy corner is given over to five photographs by Tonie Bertherat. I love the image (“Arevamirp”) of a young woman wearing a helmet made entirely of sweets. I love the idea of making the helmet!

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Bertherat gives a masterclass in staged photogrpahy. I adore the nod to Vermeer with “Ejsiem” – Girl done up in plastic sheets with two pearl earrings.

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Froschkönigin by Wiebke Delahaye

I stand looking at a large photograph that speaks to me of all the young princesses out there kissing all those damn frogs in the hope a prince will materialise. I have the privilege of talking to Madame Delahaye herself. Her other world is that of Aesop’s fables. Her model for the photograph is her niece. If I have to choose a favourite piece at this classy but fun exhibition, this is it.

Photographic exhibitions that excite interest are rare. This is one such. With “Entre deaux mondes,” Galerie Cimaise sets the bar high. I plan to return when the crowd disperses.

The exhibition closes on 28 May 2015.

Vesa Lehtimäki Star Wars photos

Today is Star Wars Day – May the 4th be with you! – and I thought it would be timely to share one of my favourite fan projects: Vesa Lehtimäki’s Star Wars photos.

The Moon and Jupiter Over Helsinki

The Millennium Falcon on sea ice next to Kruununhaka, Helsinki. March 2013. Source: Flickr

Looking at this photo makes my jaw drop. Is it the real deal – did the Millenium Falcon actually land in Helsinki? Would love to hop on for a space jump to Mos Eisley!

Casual Parking

The Y-wing pilots, where do they get their licences? Really! I mean just look at this, you can’t really get in or out of that parking lot in a car with those Y-wings parked like that. It’s been like this after the destruction of the second Death Star. Sunday drivers… Yeah, it’s a nuisance! Source: Flickr

Internet tells me that Lehtimäki, a Finnish illustrator and designer, borrowed his son’s toys, placed them in real-life situation and did some clever photoshopping. I can only imagine the time and effort that went into making these unbelievable scenes believable. Hats off!

Desert Blues

Sand, sand and more sand… Shazbot! A Tatooine assignment can be very tough. Source: Flickr

Snowtrooper's Delight

A snowtrooper isn’t happy without snow. A lot of snow! Source: Flickr

Don’t forget to check out Lehtimäki’s Flickr for some more fabulous shots, tell us what you think. May the force be with you on May the 4th!

Robert Ramser’s Golden Land with Smiling People

Welcome to Robert Ramser’s Burma. His up-coming exhibition “A Golden Land with Smiling People” opens at Espace Cyril Kobler on 3rd March.

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One of the white elephants belonging to General Than Shwe. In South-East Asia, white elephants are symbols of power, good luck and political credibility. In reality, they are albino animals with pink-brown skin and pale eyes. The official line, though, is that they are white.

Two years ago, I met Robert at his home and wrote about his mesmerising Asian photography. Last year, at his Holy Creatures exhibition I had the privilege of buying one of his beautiful, atmospheric, hand-developed, black and white prints. Robert is a thoughtful, experienced and creative photographer. His work is always worth seeing.  However, I am a little surprised by the title of his new exhibition. I cannot escape a tiny fear that his fascination for the Far East has led him to exhibit a series of golden temples, water buffalos, happy saffron-clad Buddhists monks and grinning children. This fear, it turns out, is unfounded. The golden land with smiling people doesn’t exist except in photos that Robert doesn’t want to exhibit.

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Kaung Kaung lives in the Le Te Mu monastery. His parents live in Rangoon but don’t have the means to look after him.

Robert’s travels first took him to Burma in 1983. He has returned twelve times. In his medium format, black and white style he really did photograph a golden land with smiling people. He then realised that such images were precisely what the political authorities wanted visitors to take away. “I took many nice photos” he tells me. “But they were too nice! They were not representative. They were not genuine. I wanted to show the crumbling vestiges of British colonialism and the poverty of everyday life.” Determined never to exhibit these photos and equally determined to capture the political realities of Burma, he returned in 2011 and 2012 with this current exhibition in mind.

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Classroom in a christian institution, Kalaw, 2012. Education is, in principle, free in Burma but the teachers are so badly paid that they have to give private lessons as well. The many private schools are only for the privileged. Religious institutions attempt a basic education for children of the most needy families but many such children have to work in tea shops for less than a dollar a day. The education budget is 6% of the total national budget. The army expenditure is 13%: for a country with no enemies outside its borders.

The photos on display in the new exhibition show a surprising change of approach and technique. He has moved not only from medium format film to 35mm SLR digital in colour but also from the aesthetic and evocative to photo-journalism.

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The inner courtyard of Sofaer & Co in Rangoon, 2011. This building dates back to 1906 and housed the interests of Issaac Sofaer, a prominent businessman. After the military take-over of power and expulsion of the owners, it became the office of taxation until the government moved to the new capital Nay Pyi Daw in 2005. Colonial buildings are the property of the government but are left to decay. There is an on-going programme to sell such colonial buildings to foreign companies with a view to creating more desperately needed hotels for tourists.

I’m a great admirer of Robert’s work. Whether illustrating folklore or in pursuit of a political statement, each photo carries a distinct, understated quality.

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Eight-lane highway in Nay Pyi Daw, 2012. The new capital was hastily constructed in the early 2000s in an arid area through fear of an American invasion. The roads are illuminated all night when the rest of the country receives electricity for only eight hours per day.

You can meet this gentle-mannered and versatile photographer at the opening of the exhibition at Espace Cyril Kobler on Tuesday, March 3 from 1800. I’ll be there too!

Tram 12, stop: “Peillonnex”