Anthony Hopewell
  • About
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  • PHOTOGRAPHS
    • Acts of Enclosure
    • Dulce et Decorum est
    • Rights of Way
    • Evidence of Unknown Journeys
    • River of Antre
    • Postcards from Naples
    • Postcards from the Death Strip
    • De Paso
    • Five Small Landscapes
    • 184
    • Much Hurt near Here
    • Looking out of England
    • Memento Mori
    • Rooms with a View
    • Enclosure Acts
  • FILMS
    • The Thought Adventurer
    • Carnal, Promiscuous and Proud
    • Carnal, Promiscuous and Proud Excerpt
    • BillyCock
    • BillyCock Excerpt
    • Latent (2 Screen)
    • TRUTH
    • a coastal retreat
    • Blue Danube
    • Crossing
    • Memento Mori
    • On the Edge
    • ReQUIEM
    • ARGAL (winter)
    • AVENUE
    • Vimy Ridge Farm (2018)
    • About Time
  • BOOKS
    • Evidence of Unknown Journeys
    • See Naples and...
    • Death Strip
    • Carnaval
    • Soy Cuba (now available from Amazon)
    • In Pursuit of Paradise
    • Looking out of England
    • Looking out of England (ebook)
    • Democracy in America
    • Photographs 1972/3
  • PRINT PRICES
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  • My account
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Prints of many of these images are available for purchase.
Please contact me via this website.

Postcards from No w here

Sandwiched tight between " the concerned photographer" and " Alfred Stieglitz: Photographer" sits the sun bleached spine of a book I have dipped into periodically for nearly 40 years. Not regularly, sometimes only annually, but always with pleasure.

 

The book is a 1974 Aperture publication called " the SNAPSHOT"  edited by Jonathan Green. The price sticker is still there. £3.95 from a time when even that was a stretch. But excellent value when spread over 40 years. Between its limp covers lie Tod Papageorge, Henry Wessel jnr, Emmet Gowin, Lee Friedlander, Joel Meyerowitz et al, all early-career stars-in-the-making. And a project that has subliminally influenced my thinking ever since, the postcards series by Bill Zulpo Dane.

 

I have always made snapshots. Small inconsequential bites of life. Absurdities. Antidotes to my "serious" work, both commercial and personal. Images I am drawn to make for no valid reason other than pleasure. I have recently come to understand them more as a stream. A long meandering aimless stream, sometimes barely a trickle but with some sort of flow. An analogue linearity despite their (sometimes) digital production.

 

These snapshots do not pretend to be icons. And certainly not objective truths. It is only by aggregation that they gain weight. 

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