{"id":246,"date":"2007-12-19T05:23:05","date_gmt":"2007-12-19T05:23:05","guid":{"rendered":"http:\/\/www.foto8.com\/live\/?p=246"},"modified":"2007-12-19T05:23:05","modified_gmt":"2007-12-19T05:23:05","slug":"photie-man","status":"publish","type":"post","link":"https:\/\/www.foto8.com\/live\/photie-man\/","title":{"rendered":"Photie Man"},"content":{"rendered":"<p><span class=\"text\"> There are few templates for the kind of collaboration that photographer Tom Wood and the artist Padraig Timoney have made. Certainly there are no parallels with the many photographers who work briefly and clinically, vainly producing books or exhibitions that don\u2019t merit publishing or hanging, \u201cthe kind of photography that just doesn\u2019t matter\u201d, as Lisette Model would have it.<\/p>\n<p> When Wood produced his first book, <\/span><span class=\"italic\"><span class=\"text\">Looking for Love<\/span><\/span><span class=\"text\">, it seemed a concise chapter in the work of a searching, persistent photographer. It was a portrayal of familiarity and love in a bar at the edge of the River Mersey in Liverpool, a drama led by a people in a difficult land. It was a meditation on staring, convincing, risking \u2026 needing. In the photographs, catharsis was both explicit and inferred. Fights spilled around the frame, never straying within. There was a sense of pressure too, of the briefest of chances for love or intimacy, with a simple flashlight holding the exchange of glances. For all its drama, the book appeared measured and formally preoccupied.<\/p>\n<p> Those aware of Wood\u2019s work knew these pictures to be a partial account, one of a number of parallel projects that he had nurtured. Beyond the occasional published appearance, there was seemingly no goal, clearly no agenda, but somehow a purpose and an urgency to respond, acknowledge and perhaps understand the lives of the people he lived amongst. There was a close affinity with Sudek and Sander, and the wish to build a response over time.<\/p>\n<p> Then came the search for colour and the gathering of chance and life of the determined street photographer. The omission from <\/span><span class=\"italic\"><span class=\"text\">Looking for Love<\/span><\/span><span class=\"text\"> seemed to be the wider lives of the people in the pictures. Perhaps as an account of Wood\u2019s work, it was singular and abrupt. It is not surprising then, that <\/span><span class=\"italic\"><span class=\"text\">Photie Man<\/span><\/span><span class=\"text\"> has become a vehicle with which to liberate and realign both the familiar and the lesser-seen photographs Wood has been making since the early 1970s.<\/p>\n<p> The publications that already exist provide a spine for <\/span><span class=\"italic\"><span class=\"text\">Photie Man<\/span><\/span><span class=\"text\">. Images from the bus book, <\/span><span class=\"italic\"><span class=\"text\">All Zones Off Peak<\/span><\/span><span class=\"text\">, Weinand\u2019s oversize <\/span><span class=\"italic\"><span class=\"text\">People<\/span><\/span><span class=\"text\"> and <\/span><span class=\"italic\"><span class=\"text\">Looking for Love<\/span><\/span><span class=\"text\"> conspire to become the foundation for more subtle or irreverent images. There is an abrasion in the selections \u2013 a willingness to lose detail and sharpness to gesture, light and mood. The kind of pictures often dismissed because of their untidiness \u2013 their technical abrasiveness \u2013 bed in against the most refined, tonally beautiful street portraits. At the heart of this book, there is an attempt to marry these qualities, to create a dialogue between Wood\u2019s pictures and Timoney\u2019s formal sensibility. For much of his time on Merseyside, Wood worked with portraiture, photographing on the streets and in the institutions of Liverpool. Portraiture is often a slow, deliberate process, confounded by the transience of the sitter. <\/span><\/p>\n<p><span class=\"text\"><br \/>It is a temporary closeness, a gathering process, and often yielding a poor harvest \u2013 and rarely the harmonising of a photographer\u2019s sensitivity and a subject\u2019s independence. More, it is when something is betrayed. Those few occasions when photography becomes secondary and we are left with people, themselves in the world, shouldering that world. Wood\u2019s portraits often show relationships \u2013 kinships, family bonds spanning generations or the confusions and knowingness of youth. There are the workers, young and old, the mothers and children, the mothers who are still children, too many children.<\/p>\n<p> The earliest portraits are black and white, perfectly rendered. They are coupled with colour pictures, a move that somehow extends their reach. For all the busyness and impact of the colour street pictures, there is the clarity of complexion, detail and purpose in the portraits, forever an anchor. Perhaps there are obvious balances too \u2013 a child on a bus with her grandfather reaches out to the photographer, in a way that the woman in the previous image, though sharing the same hair and shape, no longer seems able to in her middle age. Yet there are also occasions that constitute a leap of faith. They shouldn\u2019t work together, but somehow they do. A middle-aged couple feed a baby in an unkempt park, and over the page a gang of children stand semi-formally after play. A hooded child withdrawn against a city wall reappears as a struggling pupil in a classroom. It is these bridges across the book that become everything. Photography \u2013 like the city \u2013 can be tender and vulgar. Ideas can fail or progress our understanding of how we are. Sometimes it\u2019s enough to try \u2013 as Beckett said: \u201ctry again, fail again, fail better\u201d. Sometimes it\u2019s enough that the pictures are in the world. <\/span><span class=\"bold\"><span class=\"text\"> <\/span><\/span><\/p>\n<p><span class=\"bold\"><span class=\"text\"><br \/><strong>Ken Grant<\/strong><\/span><\/span><strong> <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p><a href=\"index.php?option=com_content&amp;view=article&amp;id=203:photie-man&amp;catid=19&amp;Itemid=77\"><img decoding=\"async\" loading=\"lazy\" class=\"review_photo\" src=\"http:\/\/www.foto8.com\/reviews\/V4N2\/resources\/photieman.jpg\" alt=\"Photie Man\" title=\"Photie Man\" align=\"left\" border=\"0\" height=\"150\" hspace=\"0\" vspace=\"0\" width=\"115\" \/><\/a> <span class=\"review_author\">Tom Wood<\/span><br \/><span class=\"review_additional\"> Published by Steidl<br \/> \u00a328<br \/> 224pp Softback<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[22],"tags":[],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.5 - 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