Own Research – Magnum Talk – The Journey with Matt Black and Antoine d’Agata Barbican October 2 2017

A great journey has long been regarded as an access point to creativity, to new experiences, places and people, and often to introspection and self-learning.

I was looking forward to hearing David Campney in this talk, but at the last minute he was replaced by Aaron Schuman, and to be honest I was a little disappointed in his interview technique. He did not seem to bring the best out of either men. However, that could just have been their personalities….

Matt Black and Antoine d’Agata were in conversation, ‘exploring the concept of the journey as a structure for visually responding to the world.’ They discussed their personal take on the photographic road trip and how the journey can be used as a framework for making photographs.

Matt Black

Matt Black is from California’s Central Valley, an agricultural region in the heart of the state. His work has explored the connections between migration, poverty, agriculture, and the environment in his native rural California and in southern Mexico.

For over 20 years, photographer Matt Black explored the issues of poverty, migration and farming in California’s Central Valley, examining the extreme economic hardship in one of the country’s richest states and is highly critical of the contrast in the richest nation in the world also having these pockets of huge deprivation. He photographed people living at or below the poverty line. According to MSNBC, fully 45 million people living in the US ‘meet the official guidelines for poverty’ many are undocumented immigrants from Mexico. Apparently there are 250K more Mexicans in California than in Mexico, leaving ghost towns behind. Mexico has lost 80% of its population, which is a staggering figure.

Black was inspired by the work of the FSA but he believed they should have documented the black Africans more than they did, he followed one family, tracking down Hayley Jones, the daughter of the original migrants, and three generations later she is still working in the fields. There is a distinct lack of opportunity and mobility.

In 2014 he took to Instagram for his latest project, Geography of Poverty, using the social app’s mapping feature to pinpoint California’s poorest communities. In the December he was named TIME’s Instagram Photographer of the Year.

California always seemed special and unique in terms of how it symbolised promise and progress, so it seemed somehow symbolic to begin there and travel east, but what has surprised me is the similarities I have encountered as I travelled from one community to another. All these diverse communities are connected, not least in their powerlessness. In the mainstream media, poverty is often looked at in isolation, but it is an American problem. It seems to me that it goes unreported because it does not fit the way America sees itself.

After two decades of concentrating on California’s Central Valley, Black expanded his project to the rest of the country.

His on-going project The Geography of Poverty, saw him travelling 48,000 miles across 44 States to photograph designated ‘poverty areas’ and highlight the growing gap between rich and poor and Matt Black was awarded the W. Eugene Smith Memorial Prize for this project. He also received the Robert F. Kennedy Journalism Award in 2016 and was named Senior Fellow at the Emerson Collective. With his high contrast black and white being described as ‘stark and impressionistic.’ I thought they were highly atmospheric, maybe a little too romantic despite the subject matter, and had a grainy retrospective feel about them which reminded me very much of the early work of Sebastião Salgado, Other Americas, plus his Kuwait body of work.

Going back to the theme of ‘the journey’ for Black, the goal was to use it as a storytelling mechanism.

Every stop along the way has a level of poverty above 20%, I wanted to find a continuous route that linked all of these towns, which are no more than a couple of hundred miles from each other. And the fact that you can link all of these communities from coast to coast and back again is telling.

What I took away from Matt Black was:

The idea of always beginning from home and comparing photographic experiences to what you know of yourself, it ‘contextualizes what I am seeing.’

Taking a journey away from home and then returning.

Looking for similar motifs in the unfamiliar

Exploring similarities within different communities

Seeing a lot very fast

Inclusion of captions/text/interviews with people

Thinking about different platforms for the results

Antoine d’Agata

Born in Marseilles, Antoine d’Agata left France in 1983 and remained overseas for the next ten years. Finding himself in New York in 1990, he pursued an interest in photography by taking courses at the International Centre of Photography, where his teachers included Larry Clark and Nan Goldin.

Antoine d’Agata was totally different from Matt Black. He spoke very little, put on a PowerPoint presentation set to a throbbing beat to display his images, and let the work speak for itself. Growing up as a punk in Marseilles had a very strong influence on his life and subsequent photography. His images were firmly within the realms of Daidō Moriyama; they were black and white, grainy, out of focus and looked at the seedier side of life. For his first books published in 1998, De Mala Muerte and Male Noche, d’Agata ‘travelled the world to document characters of the night’s further edges: for sex workers, addicts, war-torn communities and homeless.’ d’Agata informed us that he looked for fragility.

In 2001, he published Hometown and won the Niépce Prize for young photographers. ‘Compiling intimate and provocative images, the book focused on his travels in France and personal journey.’

Unlike Black he undertook no preparation prior to setting out, other than ‘mental preparation’. d’Agata travels the world, documenting his personal experiences and encounters, and oddly more often than not hands his camera over to others to take the photographs. His intention is to be part of the action, not outside it…he did not wish to be a tourist or a consumer…and a lot of the images I suspected him to be the subject of, or part of,  were very dubious in nature, and I suspect he had consumed many things… When asked how he knew his work was finished , or know that the journey was over he replied ‘when the darkness became ‘normal’ and it becomes comfortable…’

He believes in going as far as he can as a human being, but always considers the responsible way in which to represent something. Having said that he thinks he challenges Magnum’s comfort zone, but thinks his work has documentary value. D’Agata has lived as he stated a very murky and nomadic life. Immersing himself in his subjects,  ‘prostitutes and other marginalised misfits,’ and never shies away from dangerous, drug-addled and sex-fuelled situations.

Most of my photographic strategies are aimed at reaching the highest levels of pleasure or unconsciousness and, in this sense, sex and drugs are highly enjoyable working methods. Part of my recent work could be easily described as some chaotic and biased sociology of ecstasy. I live my life with people who use pleasure as a way to impose their existence and identity in a world that denies them every right. But pleasure can’t be separated from pain and alienation. Pleasure is still a dark territory to me and I am exhausted exploring its limits. It’s just a route. Satisfaction isn’t the aim. Feeling might be the point. I’m hooked on adrenaline.

Because he get so involved in the lives of his subjects he does not think his work is voyeuristic nor exploitative. Since 2005 Antoine d’Agata has had no settled place of residence but has worked around the world, he has a passion for his work that does not always fit a commercial niche and runs many workshops to make ends meet.

What did I take away from Antoine?

Don’t do drugs!

Don’t be scared of looking at the uncomfortable things in life

To not always consume but to try to sometimes be part of the action

Challenge reality and the understanding of the world through the eyes of others

Photographs don’t always have to be about aethetics








Own Research Magnum Photos Now: Storytelling Telling Stories: the Single Image vs. the Series – Matt Stuart and Patrick Zachmann @ The Barbican July 17 2017

This year Magnum and the Barbican Centre have been cultivating a relationship where they have been organising both talks and exhibitions featuring Magnum photographers. The talk which I recently attended  was concerned with the art of story-telling and the debate as to whether or not this can be achieved with a single image.

The audience was given a brief history of the founding of Magnum and the diversity of its membership and more contemporary approaches to the different genres: Henri Cartier-Bresson, ‘the artistically inclined street photographer’; Robert Capa the archetypal photojournalist; George Rodger the tireless traveller; and David ‘Chim’ Seymour  the concerned humanitarian.’

The discussion was chaired by Geoff Dyer; the invited photographers were Patrick Zachmann and Magnum nominee Matt Stuart, and they argued their different viewpoints with regards to the use of a single image or series of images as a tool for storytelling.

Matt Stuart

Matt Stuart explained that his approach is based upon the ideals of Cartier-Bresson: ‘Sometimes there’s a unique picture whose composition possesses such vigour and richness and whose content so radiates outward from it that the single picture is a whole story in itself.’ Despite being interested in stories he believes that the single image is the ‘holy grail.’

Stuart acknowledged that this isn’t always easy, having spent the last 20 years or so ‘walking the streets of London hunting the single image and the only thing that links these single images together is the place.’ The first book he published contained 10 years of work. Stuart went onto explain how his single images ‘contain a depth of narrative’:

There’s often one picture that I find that you can pull from something if you absolutely have to, and my daily grind is to try and get one picture from the day of what actually happened.

An interview for Lensculture gave more background details on his approach and 2016 Magnum nomination. Recently he has been trying to vary his approach and tried to take images just for one week, then just one day followed by just one hour to sharpen his observation skills and trying to tell a story with a minimum/one image.

As he explained, he flicked through a PowerPoint presentation., highlighting the importance of spotting body language and background information that provides juxtaposition, or cohesion:

Sometimes, especially with street photography, stories can be implied, and in this particular picture I think there’s an interesting collision between these two people. There’s a man who is pretty evidently lost in the foreground, and you can tell he’s lost due to the fact he has a map, he’s on the telephone and he’s covering his mouth. Body language is something that I’m quite interested in and something that I look at a lot when I’m out on the street, so I realize when people appear to be lost. The two young men behind him know exactly where they’re going, or at least that’s the implication because one of them is pointing confidently. The difference between the two has made this strange swirl of gestures of two men who know where they’re going and one man doesn’t.

GB. England. London. 2006. Oxford Street.

Stuart continued the talk by telling us how he now has tried to change what he occasionally photographs, previously his images were about capturing humour and odd situations but more recently he has been drawn to the more serious reportage side of documenting image that, within them, narrate an entire story. Examples he cites and images he showed included the recent tragedy of The Grenfell Tower fire and the London Bridge terror attacks. Both of these events had to be handled with respect and dignity as they were both complex  and emotional. He told us of people who wanted to tell him their story, of people staring open mouthed as events unfolded.

After the terror attacks on June 3rd, 2017, Stuart walked with intent, hoping to capture a photograph that summed up the mood of the day. He showed us a series of images he took of a woman crossing London Bridge with a Union Flag hanging from her handbag, discussing why he went with one over the other, the discrete semiotics that helped convey the mood.


I decided to get up very early in the morning and go to London Bridge. I was there at 5 o’clock in the morning; I was looking at people walking along the bridge and coming to work, and at about 8 o’clock, which I know is a busy time on London bridge, I saw a woman walking with a Union Jack in her bag. It was just the stick poking out, and I thought, ‘That’s strange that she is walking with a Union Jack in her bag,’ so I followed her, which is something you do a lot as a street photographer, and took two frames that I find interesting. I found her very relevant to the day. In another moment she pulled out the flag and just walked across this bridge with it, so there’s two images with different moods – one potentially positive and one more sorrowful.

He asked us to consider which is weirder? The man who carries things or the man who photographs the man who carries things?

Brexit came up as a typical and topical subject…something that I will think about with my assignment 5.

Patrick Zachmann

Patrick Zachmann’s approach to photography is the exact opposite of Matt Stuart’s, preferring a ‘long-term approach to building a story.’

He feels his commitment is to tell stories about the outside world and himself, he believes by doing this he understands himself better through looking at ‘others’.

Some of his images, whilst looking like straight documentary, occasionally are not quite what they would seem. The example that sticks most in my mind was a Chinese drama student demonstrating against the then current regime. Zachmann captured her performance piece as she writhed on the floor in agony, without the captioning on the image you would have thought she had just been struck down. Although his image was a truthful documentation of an event, by not revealing the entire picture the narrative was open to interpretation, maybe even misrepresentation. This is why he strongly believes that captions are an important tool for his style of documentary photography. He also keeps a diary to ensure that when he edits and uses his images at a later date he always knows the context and backstory, photography is not enough in his opinion it can go further.


His work as been described ‘incorporating cinematic ploys…interwoven with narrative strands of fiction.’ Zachmann gets to know his subject matter over a long time, approaching it from many different angles and perspectives, which enables him to have a multi-layered narrative. Again a relief to hear was his confession that there will be images that are weaker than others, ‘like music there is a rhythm.’ The images that really make no sense he does not include. NB to self to edit ruthlessly.

At first he did not identify with Magnum and even now he does not allow the organisation to pressure him into doing things he does not want to do. He advises anyone ‘keep going your way.’

Zachmann and Stuart, despite having totally different photographic voices were appreciative of each other’s work. Zachmann commented:

I’m not like Matt Stuart but I really like his work as a street photographer. I have never identified with street photographers. From the beginning, my commitment to photography is to tell stories – about the world, about others, and about myself and my own family, often through that work.

I am very often asked if I consider myself more a photojournalist or an artist and I have never been very clear on my answer, and I’ve recently come to think that I am both.

This was quite reassuring when you are struggling to pigeon-hole your own take on the ‘art’ of photography, finding your own voice.

Zachmann is fascinated by diaspora – a scattered population whose origin lies within a smaller geographic locale. Diaspora can also refer to the movement of the population from its original homeland – he considered his own family history and wondered how much of this influenced his approach.

His projects are many and varied and focus on groups in society from a range  of different countries. He gains inspiration from many sources, both film and newspapers. For example one of the earliest projects that brought him acclaim – his body of regarding the police and mafia in Naples – was inspired by a small newspaper story.  This developed into ‘a collection of cinematographic photographs’ which culminated in his first book, Madonna! in 1982. This was eventually accompanied by a fictional novel inspired by the experience illustrated with the images, published a year later. Note to self on how you can further develop an idea and sustain your practice.

As mentioned earlier Zachmann spent much time in China, his first trip being in 1982, and returning on several occasions over the following decades, taking inspiration from the Shanghai film noirs of the 1930s.  Once more this investigation into another lifestyle led him to a smaller group within that society as he examined ‘the underbelly of the city.’

I really found a love for these movies, which were dealing with the underworld of the Triads – the Chinese mafia, secret societies, prostitution and illegal gambling; all these things interested me as a photographer, visually. Then, when I started my work on Chinese diaspora and then I continued working in China, I realized that, consciously or unconsciously…that’s also what I think makes the difference between a journalist and an artist. When you’re a journalist you cannot be led by your unconscious or by interesting light or faces, but you have to look for information.

Being patient and forging relationships also helped him capture hard to document images. Zachmann photographed the now long-gone “Forbidden” or “Walled City, a ‘lawless area in Hong Kong that belonged to mainland, communist China.’ Gaining access through a nervous guide, referred to as “W” enabled him to photograph the dark world of the Walled City. He thinks that the quality of light is the most effective tool when telling a story, shooting in black and white with a Leica. The atmospheric images reminded me of Bladerunner.


Zachmann was photographing Beijing youth in 1988 to 89, he captured images of the Tiananmen Square protests at their beginnings, while there was more of a festival feeling, describing it as a “Chinese Woodstock.”

Having spent a great deal of time understanding Chinese culture from various entry points, Zachmann’s images could be said to be ‘more nuanced, than the foreign press. A fact that I have discovered to be true – it is easier to photograph what you know or have researched.






Documents of conflict and suffering – Don McCullin

In my last post I spoke about several well-known war photographers who are sadly no longer with us. However, one who is, is Don McCullin whose images of the Vietnam war and other more relatively recent conflicts have made for uncomfortable viewing in some instances.

My photographs are stark and they’re not meant to be comfortable to look
at. They’re to make you respond. The only way you are going to get the
message across to people is to shock them. They’re not going to be moved
by a cosy picture…I want you look at my photographs… and go away with
a conscience obligation.

Don McCullin, Shaped by War exhibition, 2010

This seems to be in direct contrast to Gilles Peress who wanted to inform, but not set out to deliberately shock, just allowed the contents of the frame and the viewers personal empathy to inform the level of reaction.

Sontag wrote: ‘There can be no doubt of the intentions of this tenacious, impassioned witness, bringing back his news from hell. He wants to sadden. He means to arouse.'(Sontag 2001)

Back in 2013 I saw Don McCullin give a talk at The Photographer’s Gallery and did a fairly extensive write-up which can be found here. The penultimate paragraph read:

McCullin acknowledges that you can’t go to war without some kind of damage, either physical or mental. He welcomed his injuries so he could acknowledge others suffering. Now he wants some time to himself; you go to war you suffer, he has had 55 years of this and now wants time to himself. “I have been manipulated, and I have in turn manipulated others, by recording their response to suffering and misery. So there is guilt in every direction : guilt because I don’t practice religion, guilt because I was able to walk away, while this man was dying of starvation or being murdered by another man with a gun. And I am tired of guilt, tired of saying to myself : “I didn’t kill that man on that photograph, I didn’t starve that child.” That’s why I want to photograph landscapes and flowers. I am sentencing myself to peace.”

I think one of my favourite photographs is OF him rather than by him. Taken by John Bulmer in Cyprus in 1964, it reveals the side of McCullin that did do something and didn’t just watch.


Don McCullin is running; running as fast as he can. His mouth is open, hair neat and jacket crumpled. In his arms lies an elderly woman, her thick set legs bent over McCullin’s left arm. Her gnarled right fist clenches two long sticks; the wire and trees blur in the background. This unlikely couple are fleeing missiles fired into Turkish territory by the Greek army during the 1964 conflict in Cyprus. It’s McCullin’s first war and this now famous war photographer is captured in action in an extraordinary black and white photograph. The previous evening, McCullin had crashed on the spare hotel bed in the room of the photograph’s author, who had then driven them both into battle the following morning; “If I was going to get killed, I thought I might as well take some photographs”. The photographer is John Bulmer.

This was one of the images on display at the Peter Dench Great Britons of Photography exhibition, you never know what gems you can find unless you go look!


Listen to Don McCullin talking about his exhibition Shaped by War on Radio 4’s Excess Baggage http://www.bbc.co.uk/radio/player/b00qlgzg

Before listening to the interview I wondered if I would discover anything new having heard him speak and read his autobiography. The link wouldn’t work for me, no idea why, but I found it on YouTube! One of the things he said in this interview that struck a chord was , ‘I don’t carry my life’s work lightly,’ which suggested to me that he did consider the ethics of his actions and the consequences. Although interesting it did cover much of the ground I have read in other interviews.

We are asked to consider ‘ethical practice,’ both our own and that of other photographers. McCullin admits that, on occasion, people had the right to be angry with him photographing them whilst under duress, of making a story out of their misfortunes. However. he is also a strong believer in getting images out there to implement change and to tell important stories. In a different interview McCullin did comment that he no longer takes photographs that would not implement change or tell a new story. This followed his work in Syria.

So what are the consequences of such images? The examples given by Susan Sontag in Regarding the Pain of Others,  were that photographs of calamities can trigger opposing reactions, people will either call for peace or wish to exact revenge, or even be reduced to apathetic ‘bemused awareness’ of atrocities as they gradually become facts of life.  ‘Compassion fatigue’ (Sontag 1977) was touched upon earlier when talking about the FSA and charitable campaigns but it can be equally applied to images of conflict.  Sontag reminds us that over-exposure to gratuitous images of death and destruction does indeed have a ‘numbing, desensitising effect on the viewer.’

More food for thought for when producing images, be authoritative, reflective, consider the ethics, don’t labour the point and try to be different….I think I’ll put my camera back in its bag!


http://www.theguardian.com/artanddesign/2010/feb/07/don-mccullin-shaped-war-review [Accessed 16/05/2017]

http://hungryeyemagazine.com/in-conversation-peter-dench-john-bulmer/ [Accessed 16/05/2017]

https://www.theguardian.com/artanddesign/2015/nov/27/don-mccullin-war-photographer-digital-images [Accessed 16/05/2017]

https://monoskop.org/images/a/a6/Sontag_Susan_2003_Regarding_the_Pain_of_Others.pdf [Accessed 16/05/2017]

McCullin, D., Evans, H. and Sontag, S. (2003) Don McCullin. London: Random House.

Sontag, S. (2003) Regarding the Pain of Others. New York: Picador

Own Research 2 -In conversation: William Eggleston @NPG 2016

On 21 July 2016, I was lucky enough to attend this talk with a small group of   like-minded ‘photography people’; tutors, an ex-tutor of mine and some other ex-students of his. It was just how I expected it to be and spent most of the evening giggling away and totally entertained, probably for all the wrong reasons. One of our company was most disgruntled and wanted his money back as he had come to hear William Eggleston “talk” which proved to me he had never researched the man nor understood how he operates.

If he had, he would have known from the outset that “In Conversation” was a misnomer. Eggleston knows just how to avoid talking about anything whilst “In Conversation” and gave the audience a masterful display in how to control an interview.You learn more from the YouTube video posted below about his ways of working, the background of some of his images etc than you did from the “talk.” That was just a masterclass on how to be William Eggleston.

I’ll give you the video version and then the talk version. I have to admit to not being a huge fan of his work. I appreciate his place in history, I admire how he has managed to stay in the frame (no pun intended) for so many years, I love the saturation and rich colours, how he makes a living from photographing the banal. Some of his images I really do like, but the majority don’t resonate or make me feel any emotion other than, ok it’s life. But in actuality, that is exactly what is really good about it, as that is what he photographs. When asked what his images are about his response is “life today.” So you have to hand it to him, his images do exactly what it says on the tin. He documents life today in all it’s bland and ugly glory. As a young man he complained “What shall I photograph? It’s all ugly!”  [in Memphis] To which a friend replied “then photograph the ugly!”

He decided very early on to only take one image, as he got confused with choice and having to opt for the best shot. He also doesn’t caption his shots believing they are what they are and need no explanation, which is quite relevant to the next exercise…

Some fascinating facts emerge as you watch; he was born to a very wealthy family who owned a large plantation, was adored and virtually “kidnapped” by his grandparents who seemed to bring him up surrounded by an equally adoring plethora of servants. What the video does not mention is that his father was killed during WWII so maybe not so much of the “kidnapped” then. An unconventional man, into drugs, guns, women and a taste for the wilder side in life he was given his first camera at 18. He shot first in black and white, with composition heavily influenced by Henri Cartier Bresson. He studied art at a variety of universities for 8 years, but never graduated, and shot his first roll of colour film in the mid 1960’s. At this point I smiled in my head because he omitted, and has done for years, to reveal that as a young man, in 1967, he went off clutching his box of black and white shots and presented them to the man I do feel is the master of colour, Joel Meyerowitz.

The documentary shows Eggleston  (Bill or Egg to his friends) wandering round, fag in hand, snapping away in a totally relaxed manner. In a style which, like his film making, has been described as ‘loose, organic, one take only.’ It was through his friendship with Andy Warhol that he was introduced to a Sony video camera, which resulted in the film Stranded in Canton. Shot in infra-red it depicts life in a night club setting revealing his friends, and the flip side to Eggleston’s family man persona, the drug taking, drunk rebel who associated with those who can only be described as ‘drunks, geeks and misfits’ who really ‘liked Quaaludes’ at the time…He ran two households, one for his family, one for his mistress. He used to have huge house parties where he would entertain the rich and famous; his photographs grace the front of many an album cover. One being the red ceiling, which becomes more poignant as you discover the history behind it. TC Boring was Eggleston’s best friend. One night there were three of them (Eggleston, Boring and Boring’s wife) lying on the bed, Eggleston looks up at the ceiling and snap…history is made. Sadly TC was later murdered, his body burnt, in the very house made famous by a red room with white cables running across the ceiling…

It was John Szarkowski who took a gamble in 1976 and chose to exhibit William Eggleston’s Guide, the first one-man show of colour photographs ever presented at The Museum of Modern Art, New York. Interestingly all the images chosen were taken after 1968, postdating his visit to Joel. It was also the Museum’s first publication of colour photography. The reception was divided but on the whole derogatory, with Hilton Kramer calling the show “Perfectly banal … Perfectly boring.” The New York Times called it “the most hated show of the year.”

Eggleston rails at the critics;they didn’t understand it, and it was their job to, they didn’t get it, it was the Museum of MODERN Art, they were just pretty stupid. But, years later they ‘apologised’.The film ends more or less by telling us that journalists hang on his every word…I hope there aren’t many of them, or else that single word is going to be very crowded…

So back to July 2016 and the NPG exhibition of William Eggleston: Portraits. Taking to the stage is Sean O’Hagan and the curator Phillip Prodger. A rather frail William Eggleston is pushed out in a wheelchair.His familiar, slow Southern drawl is much slower than it was as he ponderously delivers his few words of wisdom. Have the the wild days of sex drugs ‘n’ rock ‘n’ roll caught up.? Possibly, yet possibly not, as this was taken from an interview conducted by Sean O’Hagan back in 2004:

Eggleston is the slowest and most softly spoken person I have ever met, and the silence while he considers a question is so deep and long that I find myself wondering if he has simply chosen to ignore my fumbling attempts at elucidation. His thoughts, when they emerge into speech, are expressed succinctly and in oddly illuminating phrases that, like his work, are both simple and complex.

O’Hagan and Prodger took it in turns to ask questions and received the best monosyllabic one liners I’ve heard in a long time, mixed in with a few pearls of wisdom.The embarrassed shuffles, and furtive glances between them, as they tried to extract more information out of him, or fill in the gaps, were truly magnificent. Eggleston seemed to be perfectly aware of the cat and mouse game he was playing, cue interview:

Were you surprised when we approached you to put together an exhibition of your portraits?

I take it you’re happy with the results?

Based on the exhibition; in your opinion what constitutes a portrait?
I couldn’t tell you. It’s the looking at the result that is important , not the writing or talking, infinitely more important. Later on I never had a studio I never asked people to pose.

On what is on display; are the wrong ones being shown, or are any missing?
I’ve not thought about it.

On his first colour image, a young man with a shopping trolley; I understand this is the first one you were happy with?
It was the first one I took – I had no choice.

Did you know it was good when you took it or did you have to see the print?
I don’t know, another difficult one to answer again, I don’t know the difference.

Do the prints ever surprise you?
No…maybe they should.

I found it amusing that in the video he is described as gently and fleeting capturing peoples portraits, as if they didn’t even know he was there but in the talk he is the one who does not ‘see’ them.

[He sees]  shape and form, some are people, [they are] just as aesthetic as that table over there – little elements – whatever results is positive.

On his back catalogue; What does it say about the archives, are they all good?
Pretty good.

On his image of Marcia Hare, did you see the symbolism? What is the significance of her holding the camera?
She was asleep, perfectly healthy, she’s not dead! No I don’t [think about the symbolism] She had a camera, she liked taking photographs.

On the reception of his first exhibition, was he surprised by the reaction?
When pressed a little more:
I thought they were infantile responses.

On Stranded in Canton; I shot 2-3 hours – no it was 30 – no it was 1
Sean O’Hagan interjects that it was 30.
How do you know?
You told me when I last interviewed you. I have it on tape!
Did I, Oh well. – shrugs.

Who are the painters that have influenced you?
It’s a long list.

On his commission to photograph Graceland in 1984;
Oh Priscilla rang…
Had Elvis Presley been important to him.
I was not an Elvis fan. Period.

On his opinion of Andy Warhol:
Oh, I don’t know what to say…

On his opinion of Andy Warhol’s work:
I wouldn’t be doing it myself.

On his relationships with many well known personalities: There is an elegiac element [to his portraits] as many have passed on:
That’s the way it is.

Tell us about your relationship with Stephen Shore?
We were friends.

Did he have any influence on Stephen Shore?

Then it was over to the audience, for the brave souls who dared to ask…

Do you ever crop? Or is it perfect in the viewfinder?’

What advice would you give to your younger self if you were starting out now?
I would say I am not the one to ask.

One of our party managed to ask a question – What was his impression of contemporary photography, particularly portrait photography by women. He didn’t hear and when the question was repeated the “women” part was omitted…
No comment.
When Philip Prodger pressed – is that being polite?
I am saying no comment.

And that was it. Hopeful fans beetled down to the front of the stage, clutching various books in the vain hope that they might get the man himself to sign a few…but he declined, with an enigmatic wave of his hand, and his son wheeled him off stage right…

my reflection will follow tomorrow..that took much longer to write than anticipated and am off to bed…..

Awake but needing to get ready for work I thought I would quickly add this link to Apollo magazine who were also there and saw what I saw and heard what I heard. Sean O’Hagan has responded in the comments.

Incredibly selective. He spoke at length in response to many questions. If you know anything about Eggleston, it was an expansive interview. This misrepresents it somewhat.
Sean O’Hagan

I took quite extensive notes, admittedly some were a little scribbled and deciphering them several months later is fun. I have the name Richard Laycock? MIT …not sure what it means now but the response underneath was:
experiments- didn’t add up to much.
But it did as an art historian?
No – it didn’t add up to much.

His thoughts on William Christenberry-
Walter Hopps –
In tune mentally.
Dennis Hopper –
Visited in Mexico…
Joe Strummer?
Oh I don’t know what we talked about – we just kicked back.
Alex Chilton?
I don’t remember taking that..

Yes, in places Eggleston was a little more expansive, for example talked more fully about dye transfer, but not terribly more so. If Sean would care to provide a video of the interview or a transcript of his notes I don’t think there would be that much of a difference between what I have recorded nor by the author of the other article. I don’t think it misrepresented. Compared to some interviews, where he has barked at reporters for asking stupid questions, or just got up and walked out, this could be considered an expansive interview, hence my initial comment that one of the people I attended with obviously had no idea what he was going to see. However, given the fuller responses, by other photographers, at other events, in this instance if words were food most of the audience would have left a little hungry. I found it really hard to find any other reviews about this talk. Maybe because the people attending also struggled to find anything to write about?


National Portrait Gallery (2016) Curator’s tour: William Eggleston portraits. Available at: https://www.youtube.com/watch?v=nOvahQ7TSoY&feature=youtu.be (Accessed: 20 October 2016).

O’Hagan, S. (2004) Out of the ordinary. Available at: https://www.theguardian.com/artanddesign/2004/jul/25/photography1 (Accessed: 20 October 2016).

O’Hagan, S. (2012) Joel Meyerowitz: ‘Brilliant mistakes … Amazing accidents’. Available at: https://www.theguardian.com/artanddesign/2012/nov/11/joel-meyerowitz-taking-my-time-interview (Accessed: 20 October 2016).

THE RAD PHO (2013) Imagine | the Colourful Mr Eggleston. Available at: https://www.youtube.com/watch?v=3jZ_HkaTXh8&feature=youtu.be (Accessed: 20 October 2016).

Rakewell (2016) William Eggleston and the sound of silence – Apollo magazine. Available at: http://www.apollo-magazine.com/william-eggleston-and-the-sound-of-silence/ (Accessed: 20 October 2016).