This is either the last or the penultimate post inthe Louvre Photo Series. It’s been a pleasure to ponder what images to use for the imminent THATLou website.
As I touched on in the last post, photographic tastes which I’d long ago forgotten awoke, such as automatically turning to black and white, steering clear of portraiture (unless people are tiny, indecipherable specs in the distance, I’m not really interested in them), looking at shadows, architecture and reflexions, and above all — what the Louvre provides in spades – is a love of geometric shapes. Don’t really have much more to say than that.
In fact a complaint I’ve had from many regarding this blog is that the posts are just too long. When I’m writing about content, which is the majority of this blog – although you wouldn’t know it from these recent website / THATd’Or round-ups! – it’s true that they are a bit wordy. But were anyone who took art history seriously to read this (apart from my mother) they’d say that this blog is too superficial (she saves my feelings by not saying anything). So since you can’t please everyone, I’m just going to do a photo-dump today, and leave you with some images which may or may not appear on this imminent website that Jenny Beaumont’s doing a phenomenal (and immense) job on.
Once the site is launched, hopefully it won’t be too long before I actually return to a bit of content myself, and take a look at the content of the Louvre — and other museums for that matter. Otherwise I may just lose myself in talking about nothing. We wouldn’t want that!
Continuing this photographic series, here are some more Louvre shots, some of which may appear on the imminent THATLou website. It’s funny about photography, I don’t know much about it, other than that I like it – to both take photos and look at them.
My taste for photography was borne exclusively whilst working for David Friend, who’d been the photography editor at Life Magazine for 18 years. His photo library and his pure joy of looking at pretty much any image, let alone the enriching old photojournalists who he palled around with like Carl Mydans, Gordon Parks and Cornell Capa was an education unto itself. At the time I never appreciated how clearly I would remember nearly every interaction that I had with those venerable old characters.
In that phase I also took a class at the ICP just to get a grasp on technical bare basics. Much to my surprise it was the developing that I enjoyed more than actually shooting film (which I’d loved doing for years). I had more control in the dark room, not to mention liking the smell of chemicals. But I forget things as quickly as I learn them, so now all I’m left with is what I do and don’t like.
Here’s something that I adore: my husband playing with Light + Motion: