Mt.Rokko Portfolio Review Feedback – Syefry Moniz


How it started

I’ve got an invitation from Steven Lee of KLPA at the end of April 2014, to participate at the Mt. Rokko International Photo Festival Portfolio Review in Kobe, Japan. My feeling at that time was mixed. I was speechless, excited and looking forward to being reviewed. I started to do some research about the event from Steven’s blog and so on. This is the first time that my works will be reviewed by International / established photographers, artists, photo editors and curators from around the world. I’m very honoured for the invitation that I received. From that I started to prepare my works accordingly and put lots of effort on them.

Preparing the Project

Since I’m in the Exposure+ Photo Mentoring Program run by KLPA, I already have one project (Distance) which needed to be finished during the 3 month programme. I also brought another personal project (Bakul Boy). I’ve started the Bakul Boy project since early 2014. It was stressful but yet energetic and excited for me to do both works at the same time and preparing the final outcomes. With a lots of help, encouragement and support from my mentor (The Exposure+ Programme), friends and my most understanding family, finally I’ve was ready.

The Journey

I have prepared everything accordingly such as all the prints, postcards, name cards, hand outs including dummy photobooks for my both projects. Unfortunately a few days before departing for Japan, I got into an accident and injured my knee. With limited time, I have to settle everything despite being in pain. But for me, the excitement to present my works in Japan, the pain never bothered me. On 29th August 2014, with a little help from my ‘tongkat’, together with Steven, Ailsa, Paik Yin and Nadia, we finally arrived at the Tanto Tempo Gallery, Kobe. The venue for the Mt. Rokko International Portfolio Review was held at the YMCA, Mt. Rokko, Kobe, Japan.

The ‘R’ Day

The portfolio reviews for this event was held over 2 days on the 29th and 30th August. I was reviewed by 7 reviewers. The reviewers were Yosuke Fujiki, Naoko Ohta, Natalie Matutschovsky, Tsuyoshi Ito, Yumi Gato, Takeki Sugiyama and one bonus reviewer; Fabrice Wagner. I’ve brought two of my working projects, Distance and Bakul Boy.

Distance is a project that I’ve done with the Exposure+3 Programme. The documentary set is presented as diptychs in one print. This project is about two children’s moments in their daily lives. I tried my best to be close as possible as I could, to capture at the same moments in the day, in order to convey their differences. I want to visually highlight how much education is important to a child. The idea of this project is to pose a question rather an answer.

My second documentary project is called Bakul Boy. Bakul Boy is about a little boy named Salmankan from Semporna, Sabah in Malaysia. This little boy followed his family to come to Kota Kinabalu, Sabah to search a better life. He worked two jobs daily, the first selling plastic bags (bakul) and the other pushing wooden trolleys between the fish sellers and customers at the wet Filipino Wet Market, in Kota Kinabalu. He has to worked to achieve an education, just to help his family survive.

For these two projects, I managed to complete the photobook dummies.

At the portfolio review, we only have 20 minutes to introduce ourselves, giving an introduction on our projects and network. As for me, the first 20 minute session seems like a short time. I was a bit nervous and have not prepared much, and things messed up a little, but then I’ve made it through anyway.

So for the next session, I planned everything accordingly. Firstly, I gave out my name card, giving a short introduction about myself and then explain and presented both projects. I’ve showed the reviewers my large prints and the photobook dummies. I think we need to plan it well because we only have 20 minutes to present and at the same time we mustr receive feedback as much as possible. If we don’t plan or do it well, then we might feel that 20 minutes is not enough. Time is Precious.


Summary from the Reviewers

DISTANCE – A lot of questions were asked about this photo series. The questions needed to be answered by me. An example of a question being asked was if I could spend more time on the subjects. For every diptych, some of the reviewers asked if may be possible to add a quote from the children themselves. As this series is in colour, the calibration for all the images must be corrected especially the skin tones of the subjects. The sequencing can be change a bit and the images reduced, – “Less is More”. One of the reviewers have also said that my photobook dummies are done in a creative and interactive way.

BAKUL BOY – Most of the reviewers gave compliments and many good comments. They liked it as a photobook rather large prints. This is because the large prints are limited to 20 images only for each project. The prints can’t really show the whole story. I was advised to continue this project, making a series or volumes. Conducting proper interviews with the subjects, if possible, making a video recording too. In the future, I must also have the subject’s personal quotes. Spending more times with them, or make it a long-term project. I also need to be more careful on editing and curating the photos. As for the photobook dummies, most of the reviewers gave a comment that the cover designs are great, but some of the images are repeated and need to be removed if possible. A few of the important images needed to be enlarged up to create more impact.

The Conclusions

The Bakul Boy project is the more popular series from the two. Each project is a different story and genre. Even if they are both documentary projects the approaches are different. For each project, intimacy is the key of the success and that intimacy requires time. The skin tone calibration need to be done correctly for the colour series. From my personal observations, my colleagues from Japan are well prepared with their prints and textured paper (paper that we do not have in our country) and some photographers were equipped with white gloves to handle their prints. This is a good example of we need for the next portfolio review.

Even with different languages we are all connected by photography and the arts. Our works speaks for themselves.

As this is my first time being reviewed Internationally, it was a good experience and a learning process for me.

I would like to express my gratitude to Takeki Sugiyama for the invitation to Mt. Rokko International Portfolio Review. Also a big thanks to Steven, Erna and the Exposure+3 mentors for this opportunity. Thanks to all my friends and families for their endless support.

P.S : for those who are into spicy food,…please bring your own hot sauce – ‘sambal ikan bilis’

~ Syefry Moniz, 18 September, Kuala Lumpur

Mt.Rokko Portfolio Review Feedback – Ailsa Bowyer


There are so many things to be said about the experience of attending the Mt Rokko Portfolio Review festival so I’m going to attempt a ramble the most significant aspects for me.

From the very beginning, we (the Malaysian *cough*slash*Australian*cough* posse), were treated like the most royal of guests. We may have let the whole team down because our un-showered bodies resembled nothing of royalty, but of course there was no mention of this. Even if people were surprised to find that there were in fact no dead animals in our bags or on our bodies, we (and our bags) were just welcomed with open arms and smiles. This was the first of consistent experiences of the Mt Rokko team’s astounding politeness and hospitality.


We really were very blessed to have been able to attend this festival. I think pre-conceived assumption was that we, as international guests, had a lot that we would bring to the table. But, for me personally, I feel that I had a lot less to bring, and instead had a great deal that I took away. (And no, I’m not talking about the literal taking of amazing food or drinks. Although, as one exception to the culinary amazingness, if you buy the bottled green tea from the local convenience store, you may as well save yourself 70c, and the walk, and instead toss back the contents of the nearest ashtray).

The biggest realisation that constantly hit me was that there is just so much care and intention and pride invested in Japanese photography (or Japanese ANYTHING, for that matter), and that I have so much to learn in this regard. The ironic thing that I realised about my own art throughout this festival is that, I really don’t often treat any of it “like a work of art.” My prints and presentation really did resemble an eight year old’s artwork folder compared to the standard upheld by the Japanese attending photographers.

The Japanese folios were of gallery quality, and no expense was spared in the treatment or presentation of their photography. My favourite question from a reviewer, Didier Brousse, was “Is this how you usually print your works?” To which I answered a confident, “No, no, nooo…” (and in my head “… … … Um, yes? Shit! HIDE!)” What I was left reflecting on throughout this repeated exposure to japanese works was that, in the western screen-based world, we become so consumed with screen-based viewings, so often don’t connect a great deal with print – whether that be loose prints or book making – as a result. And in screen-worlds, we invest so much time, creativity, energy and planning in the execution of our photography, yet spend very little energy reflecting that in the final outcome of the work. And, to me, that really feels like the print version nestled proudly in your hands. (Don’t even get me started on the LIFE-CHANGING AMAZINGNESS OF MAKING A PHOTO BOOK, in particular. Experience this to know this, I can’t recommend that enough. Even in the initial dummy stages, for me, it is currently the most profound and moving experience. PERIOD).


Pic by Akimichi Chimura

So for this reason, the open-portfolio afternoon where we all laid out our works and then walked around to peruse others, was the most significant event of the festival to drum home this message to me. At one stage I even panicked that my little yet heavy fingers may crease the tissue paper laying between one photographer’s prints. This is how I want to feel about my own photos, that I have sweated over and agonised over and poured so much of myself into. This is how we all, as photographers, should honour and value our own work.

The other giant benefit of the open portfolio session was being able to get somewhat of a mini snapshot of contemporary Japanese photography, in one hit. Walking around the room, I saw just how central family and history (including repeated references to traumatic historical events) was to most of these works. And how delicate each and every one of these works were. They all had such great contemplation and quietness and depth about them. And such beauty as a result. Further, as english is the second language of all the photographers, little words were used to communicate the intention/concepts behind the works; but little words were needed, which just made me realise the strength of the execution of ideas/concepts in their photography.


Pic by Akimichi Chimura

Actually, I say they were all delicate, but I lie. They weren’t. There were some that were equally amazing for a different reason: because they were so, freaking, in-your-face confronting. Or entertaining. And to be honest, these works are the ones that I personally remember significantly, not for their asthetic appeal, but because the content of those works shook me the most.

Although it’s a given, it needs to be said – the actual portfolio reviews themselves were incredibly beneficial. I was reviewed by Naoko Ohta, Didier Brousse, Takeki Suigyama, Yoichi Nagata, Tuyoshi Ito, and Paula Kupfer. Every reviewer was very competent and knowledgable, and all had very different things to offer, including constructive criticism, positive feedback, suggestions for where-to-from-here, suggestions for presentation format, suggestions for sequencing or editing (note: bring LOOSE prints to reviews!

No fixed-photo folders!), and most importantly, questions that I hadn’t thought of or answered for myself yet. And although they all had very different and sometimes opposing things to say which did in parts leave me confused and overwhelmed, this to me was not indicative of any error of the reviewers, but rather indicative of just how far I’ve personally got to go in terms of being 100% sure of why I’m doing what I’m doing, and exactly how I want to do that, so I can then pick and choose exactly what feedback fits with my direction and where/who exactly I want to direct my photos to.

I’m talking too much. Let me cram in some parting words. The photographers and photography was incredibly giving and amazing. (AH-MAAA-ZING). Japanese people are ALL FREAKING BEAUTIFUL (mass generalisation, but I’m running with it), and may be deceptively quiet but seriously know how to drink an Aussie under the table. The festival had a real quaintness and naivete to it that makes it feel very precious. Takeki Suigyama (coordinator master #1) was a STAR at spreading love and energy throughout the place and dictating the vibe of the festival (including, but not limited to, frequent episodes of dance-shout-clap-chanting). Mariko Yamada (coordinator master #2) was often spotted running around behind the scenes instead of in the spotlight, but was the equal driving force behind the festival. (And with the sweetest smile in all of Japan).

The facilities were wonderful. (*Ahem* … first public bath experience. BOO-YAH)! The location is to die for. If I spent months on the YMCA grounds alone, I would be a very happy lady. And last but definitely not least, my favourite memory: the “sheet workshop” run by Daiki Usui. Literally, how to place one sheet on your bed, lie on that sheet, and then place a second sheet above you. “Like a sheet sandwich.”

Like I said, care and pride in EVERYTHING.

~ Ailsa, Perth 18 September, 2014

Mt.Rokko Portfolio Review Feedback – Nadia Jasmine Mahfix


Photo © Naohiko Tokuhira

When Steven invited me to participate in the portfolio reviews at the Mt. Rokko International Photo Festival in Japan, I was beyond ecstatic. The idea of travelling to a different country and also getting my works reviewed by renowned individuals from the photographic field is a rare occurrence and something that I would not want to miss. And so that is how I found myself on a plane to the Land of the Rising Sun.

The flight from Kuala Lumpur to Kansai International Airport took approximately 6 hours. From the airport you would have to take a bus to Kobe, which is about 75 minutes away from the airport. The fare for the bus was 1,900 yen. One thing in Japan the transportation fares would cost you a bomb so it is best to be prepared. Our first destination in Kobe was to the Gallery Tanto Tempo to meet with its director, Mariko Yamada and its editor, Satsuki Kajikawa. The meeting was brief, as the actual ‘meet and greet’ session would only be held later in the evening. As we arrived during midday, we had ample time to explore the city and I took that chance to absorb as much of Kobe as I could. Everything was strange and fascinating and I felt like a character from Sofia Coppola’s movie ‘Lost In Translation’.

Hours later we finally got to meet the person responsible for the festival; Takeki Sugiyama along with the other invited guests. After a brief introduction and chitchatting, we were treated to a welcoming dinner with the rest of the people involved in the festival. Everyone was nice and excited just to be there but some of us were a little bit nervous to get our works reviewed. For me, it was a mixture of both. To be honest, I did not know what to expect nor did I have any expectations. However, I was keen to show my works and hear the opinions of others.

Mt. Rokko is approximately 30-45 minutes drive up from Kobe (depending on the traffic condition). You can either take a cab or a bus to go there but also be reminded that transportation in Japan is not cheap.

Nevertheless we arrived at the YMCA safe and sound. The portfolio reviews were held at the YMCA while the talks and slideshow were conducted at a nearby location. All of the photographers involved are accommodated at the YMCA, where breakfast and lunch were also served.

On the first day, they had a presentation for the ‘Two Mountains Photo Project’ where all of the photographers involved had to talk and share their works and experiences on the project. As I am also one of the 6 photographers involved in the project, I had to give an introduction on my work and shed some information on Mt. Kinabalu too. For someone who doesn’t like to present in front of the public, it was a nerve-wrecking experience. But I was thankful to be given the opportunity to do so anyhow. It was indeed a learning experience.

Finally it was time to get our portfolio reviewed. My first reviewer was Michael Itkoff from Daylight Magazine (US) and the rest were (in following order) –

Yumi Goto from the Reminders Photography Stronghold.
Yoichi Nagata from Fraction Magazine Tokyo.
Paula Kupfer from Aperture Foundation.
Taj Forer from Daylight Magazine.
Fabrice Wagner from Le Calliou Bleu

I brought two of my works to be reviewed; one from the Between Two Mysteries series and the other one was my self-published photobook, ‘Is This The [n]?’. It was refreshing to hear the thoughts and opinions of others on my works. They gave positive feedback on my works plus a few suggestions on how to improve further. In summary, what I can deduce from the reviewing session was: –

I need to better explain my works to people.
I need to get out from my comfort zone more and perhaps try to find different subjects to work on (other than my usual subject matter).

Other than that, it was also interesting to be asked (a few times), if I shoot in digital or analog. I usually like to leave it up to the viewers’ imagination because personally, I don’t think it matters. In addition the review sessions, they were also exhibitions and talks in conjunction with the photo festival. One of the guest speakers was Sohrab Hura, who is an amazing photographer whose works I look up to.

The review sessions ended after two days and we were brought to the beautiful Mt. Rokko Country Home for an outdoor slideshow presentation a farewell supper at a nearby restaurant.

To sum it up, the portfolio review was an enriching and refreshing experience for me. I believe that it is necessary for any artists or photographers to go for reviews as this would help us to build and develop our skills, It also could shed more light and a better understanding for our own works. And for that, I owe my thanks and gratitude for the opportunity to do so at the Mt. Rokko International Photo Festival.

~ Nadia Mahfix, Kuala Lumpur 09 September, 2014

Mt.Rokko Portfolio Review Feedback – Lim Paik Yin


Photo by Naohiko Tokuhira

A plethora of thoughts on one’s work could cause a mild concussion. Left unresolved, gives way to a splitting headache. Here is a little guide to ease the pangs of insecurities and host of questions before a portfolio review.

What is a portfolio review ?

One of the reasons of showing your work in prints is to give an overview of your entire project to the reviewers. At best you could get a different perspective of your work. Having the flexibility of loose prints on hand allows the reviewers to edit the work. Think about it this way, a portfolio review can be a space to further push the photography series to another level or it could be a mini interview for your work to get published or shown in a public arena.

Printing the digital images

The first time I held the prints from my Fujifilm 5100 in 2011, excitement weld up despite having seen the images on screen numerous times. There was no thought about paper texture nor colour calibration. Looking back it was a process that I had to go through. So the lessons that I learnt, it always pay to have the monitor calibrated to my regular printer.  After all the time spent editing on screen, it’d be a shame to have prints that is subpar.


Look into the crystal ball and imagine where your work is going to be shown. Once there is a clear idea of where your work would be shown, find out about the reviewers and think if your work would be beneficial from their perspective. A reviewer who comes from a gallery or art magazine views your work differently from a reviewer from a journalistic or documentary background. With multiple lens viewing your work, there is bound to be divergent viewpoints.

Being Reviewed

I’ve always found it easier to communicate through writing or photographs instead of talking about it. Somehow I get tense and stiff especially when there are a barrage of questions or suggestions. I learnt the hard way that it is important to be able to speak about the project as not all reviewers would read the written statement and sometimes what can seem to be a grilling session with reviewers is a process to delve deeper into the subject of the project. So to start with, I introduce myself, pass calling cards and give a short summary of the project that I am showing. In general about 2 or 3 lines. Nerves got to me on my first review and thankfully I wrote short notes with main points on each project. The notes was a good reminder on the points I wanted to highlight during the review especially since 20 minutes is all the time we have.

The 6 reviewers in alphabetical order are Didier Brousse, Yosuke Fujiki, Natalie Matutschovsky, Taj Forer, Takeki Sugiyama and Yumi Goto.

Works reviewed

I brought 2 working series with me to be reviewed, both still work in progress. The first set of photos were from work done at the Exposure+ Mentorship programme in early 2013. The documentary set is called Pockets of Verdure which explored the interactions of the residents of Klang Valley through their gardens in public spaces. Composition of the work was distinctly flat.

The second set of photographs is a set of self portraits exploring what it is to be a woman in relation to my own body and experience living in Malaysia.

Summary of review sessions

Pockets of Verdure – Composition can be worked on. Some reviewers appreciate the flat perspective and some do not. The idea of the work is interesting but visually it can be improved upon.

Self Portrait – Colours are nice but too few images to have a clear idea of what the project is about.  Lots of questions were asked ranging from the size the pictures to feelings about the projects. Since it is from the viewpoint of my ideas of what being a woman is about from the perspective of being a Malaysian, the work can be viewed differently in a different cultures. There were some suggestions on content and I found it helpful to move forward with the project.

Language – As the reviewers are from all over the world, English is not always the reviewer’s first language. There were instances where language was a barrier and some communication was lost in translation. Keep in mind to keep it simple in future.

~ Lim Paik Yin, Malaysia, 09 September 2014

Promising Waters by Mila Teshaieva

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Once in a while a great photo book catches my eye and last week, my latest collection came through Deutsche Post. This is a wonderfully crafted book. Promising Waters is by Ukrainian documentary photographer Mila Teshaieva, which has won several awards, including the Critical Mass Book Award 2012, PDN Photo Annual 2013 and NPPA Best of Photojournalism 2013 Portrait Series.  The book itself is hardcover with a silkscreen print, with 52 colour images printed on archival pigment ink on Harman by Hahnemühle 300gsm Matt Cotton Smooth paper. This limited edition book of 75 comes in a bespoke hardcover case along with two editioned A4 prints.

My acquisition of this amazing book has a two fold interest. Firstly, it was put up by Mila to raise funds for  Rhonda Wilson of Rhubarb Rhubarb, who is on a road to recovery following a debilitating illness. Rhonda is a well known figure in UK contemporary photographic circles, and have keenly initiated many social programs and exhibitions to promote the art in Great Britain over the last 10 years. She has worked tireless to help many emerging photographers hone and promote their skills along their career paths in the industry. I met Rhonda in 2008 in London when she asked if I could be a portfolio reviewer in an event called Cultivate.  The funds raised would help Rhonda return to normal life and I’m glad to have been part of her appeal, from which Promising Waters had been put forward, so generously.

Poujols by Pascal Lapierre, 2002


In 2002, I exchanged prints with a fellow French photographer from a photo blog. It was pretty much the first time I had ‘purchased’ a print without parting with any cash. The photographer was Pascal Lapierre from Annecy who actually got in touch with me and asked if I would like  to exchange one of my Parisien photos with any of his. I chose this one (above) from his website titled ‘Poujols’ of a mother and child twirling to music in the foreground, and several couples from a village dancing in the open-air, in what must have been a village fair or fete. I still think it is a lovely image, one of those photos that are timeless. I can stare at this picture endlessly.

I only just pulled the bubble envelope out from my filing cabinet and discovered this A4 sized print last week, having been stored away for so long. Today, the window mount which I ordered arrived in the mail, and I have finally framed it. Just need a prominent wall to hang it.

Leica Oskar Barnack Awards 2013 finalists

Congratulations to Fabio Bucciarelli and Javier Arcenillas for being selected as finalists in this year’s Leica Oskar Barnack Awards. Both photographers are past KLPA Winners. As much as the conflict, drugs and abuse stories need to be told and brought to the world’s attention, one cannot hide from seeing a set of beautifully photographed series of the simple human condition, that is, exploration, companionship, home, and longing that this year’s winner Evgenia Arbugaeva’s portfolio, “Tiksi, comprises.

Personally, I also liked My Doll and Me by Ilona Szwarc for it’s strangeness and surreal compositions.

Man Ray Portraits at the NPG


Man Ray, Lee Miller, 1930
Lee Miller Archives © Man Ray Trust

I caught the Man Ray Portraits exhibition at the National Portrait Gallery last week, and wow, stunning is the only word I can describe it. This is quite a small exhibition but what was displayed was some of his most known portraits of Paris avant-garde artists of the 1930s, Hollywood actors and of course his muse, lover and student Lee Miller. It was Man Ray and Miller that gave the process of solarisation it’s artistic expression, (apparently, if you watch the video,

it was a rat that caused it). His studio portraits are not as dramatic or polished as as say Karsh or Klein’s but the surrealistic tendencies show through in some. You will see portraits of  Marcel Duchamp, Catherine Deneuve, Picasso, Kiki,


Berenice Abbott, Matisse, Virginia Woolf, Henry Miller, several self portraits of himself, amongst many others, including Blanche et Noire study of Kiki (below)


Man ray portraits dali

Salvador Dali, 1929


Le Violon d’Ingres, 1924

Man Ray in some respects have been more well known for his photogram images which we are all familiar with and have at some stage in our photographic development, have experimented or copied during our dakroom days, so seeing his signature portraits, like these, including Lee Miller’s studies is so satisfying up close in real prints. Sadly his Glass Tears photograph isn’t on show, as are some of his Surreal and Dada favourites. As a portrait exhibition purely, this is not to be missed. The exhibition set out portraits from his early New York stint, and then when he moved to Paris in the early 1920s, through to his studies with Miller and Kiki, and other Hollywood artists.




Most of the portraits are printed to 11″ x 14″  or smaller, matted and framed in black wooden frames, and is starkly in contrast to modern day prints on aluminium or some fancy medium. This is studio and experimental portrait at it’s simplest form, true to the period of the 2o and 30s. There are some stunning miniature colour prints of Hollywood stars also, his later work.

Seeing one of the most respected and studied masters of photography in a great setting will be a treat. Runs till 27th May, National Portrait Gallery, London.

Review : Klein + Moriyama at the Tate Modern

Review  Summary : New York 1 , Tokyo 0. Black and blur is good. ****

You have seen the posters advertising this duo retrospective all over the underground, on sides of buses and in the papers. It runs at the Tate Modern till 20 January, 2013 at £12.70 per entry and it does not disappoint.

When there are two photographers being exhibited together, one will always ask the question, “who is better?” Well, to cut to the chase. Klein wins hands down. Not that Moriyama’s hauntingly haphazard black and white photographs of 60’s Tokyo and his observed New York weren’t any good, but, when ‘juxtaposed’ (that dreaded word again I’m afraid) against the width, breadth and depth of William Klein’s monumental works, including his abstract colour typographical screenprints, early film documentaries, colour photographs, street people, Vogue fashion, gigantic photograms and pop-art contact prints, tend to render Moriyama’s works into one dimension.

You see, if you didn’t know Klein, he’s a sort of master of all arts. He started as a painter, filmmaker and graphic artist before he discovered photography. He’s a sort of expat New Yorker living in Paris and he bought Cartier Bresson’s early Leicas. That makes him a ‘God’ to many.

For me, Klein’s black and white street photographs do not have the wit and humour, (dare I say it, the ‘moment’ of Cartier Bresson’s photographs) of Erwitt, Frank or even Doisneau. They were somewhat more honest and personal, which is what I like, as pure, up close, urban city observations. I think, today, street photographers try too hard to create  or seek out these moments, so much so, they are derivative and predictable.

I did find many of Moriyama’s black and white images rather banal, although some would say seminal, to his later series of urban Tokyo. His early style was influenced by Klein as well as Kerouac’s photographs. Both artists commonly print in high contrast, grainy style with over-blacks, often blurry, even out of focus. This was considered the ‘rebel’ style to much of what was published in the 50’s & 60’s, in documentary and fashion stories. Klein broke the mold. Moriyama led the way.

I also looked forward very much to seeing his Stray Dog, (which I wrote about here ) possibly his most famous image. I did not see one, but 8 Stray Dogs instead. I came away with a feeling that both of these great photographers deserved their own exhibitions, rather than Daido taking second place, in both the headlines as well as how the show was laid out. I guess seniority rules in the end.


The last major retrospectives  I visited and written about were Anne Leibovitz’s in 2008, Lee Friedlander‘s in 2007 and also Diane Arbus at the V&A in 2005, before I begin blogging. – SL

SlideShare 22.11.12

What a great evening we had at the Lightgallery! Thank you so much for all who came along and watched the presentations, and enjoyed the spread of mince pies and mulled wine. Thank you Claudia Leisinger, Matt Richards, Rebecca Brand and Daniella Cesarei for showing your multimedia slideshows to an attentive audience!

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Will be looking forward to the next one in 2013!