“I’m offering a free headshot session [worth €595] in Dublin this week to the person with the Coolest head. Closing Date for this is Thursday. Simply email email@example.com with your best photo. Winner will be announced on on my Twitter @jmphotodub.The shoot will take place this week.”
“47 Street Photographers, 47 Photographs from established street photographers to emerging new talent from Ireland and beyond, this is the first “Irish Street Photography Exhibition” from the ISPG (Irish Street Photography Group)…
“I was on a shoot in rural Ireland recently and a local told me about an old house once owned by a librarian named ‘Birdie’Higgins. Birdie moved out of this house 14 years ago and went to live in a retirement home. Time almost seems to have stood still since her leaving and me arriving. She died 3 years ago at the age of 94.”
Photographs collected by Desmond Fitzgerald (1888-1947) , [who was responsible for propaganda during the War of Independence], donated to University College of Dublin and available online from TODAY.
The 179-image collections covers the Easter Rising, Civil War and the War of Independence.
From top: An Irish Free State soldier identified as Thomas McMahon, from the ‘armoured car and machine gun section’ in hospital having sustained a hip wound on Dame Street, Dublin; a boy with a sword and scabbard, 1919; Irish Free State Army soldiers and passers-by on an unnamed Dublin side street; A funeral ‘possibly’ for one of the Loughnane brothers [Patrick & Henry] (I.R.A.members), arrested by R.I.C. in November 1920 and found burned and mutilated between Kinvara and Ardrahan [Co Galway] in December 1920.
From an unsettling project by Irish photographer Eamonn Doyle entitled A Silence Of Their Own.
This “mugger’s-eye-view” seems on first glances to imbue the images with an antagonistic tension, as if the shots were taken a split second prior to some violation – perhaps symbolic as much as physical – of the “proper” distance between photographer and subject. Thus, it might be easy to read into his images an essentially pornographic aesthetic – that is to say, a mode of representation in which a simulated proximity to the represented becomes a fetishistic token of, and replacement for, the real itself. Yet to read the images in such terms denies a critical dimension to them, a dimension of epistemological humility that reveals them as both profoundly ethical and politically radical.