les membres du groupe et leur univers

La photographie

La passion de Colin Greenwood pour la photographie remonte certainement à assez longtemps.

 

En 1997, il a participé à une campagne marketing pour l’University de Cambridge. Il accepta de poser sur une photo avec des étudiants d’école publique et privée, destinée à être imprimée sur un poster avec le slogan “Put Yourself in the Picture.” La campagne cherchait à briser quelques clichés, et à encourager les étudiants venant de public à postuler pour des études prestigieuses.

Plus d’informations : http://www.admin.cam.ac.uk/univ/newsletter/1998/aug-sep/4.html

 

On le voit également dans le film Meeting People Is Easy, l’appareil photo à la main :

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En avril 2003, le  « Victoria and Albert Museum » (le V&A) de Londres a décidé de créer une galerie en ligne présentant une partie de son fond photographique.

Cognitive Applications has worked with the V&A to create an accompanying website and kiosk. As well as placing a selection of the 300,000 strong collection online, the site features: ‘theme tours’; ‘photographers’ stories’; explanations of photographic processes and techniques and ‘personal tours’, in which individuals, from Radiohead’s Colin Greenwood to year 7 school children, discuss their personal favourites.
— Présentation de l''exposition, avril 2003

Lien : www.vam.ac.uk/vastatic/microsites/photography/guide.php?guideid=gu010

Colin, en tant que photographe amateur, offre ses impressions sur quelques unes de ses photos préférées pour une exposition.

Quelques exemples des photos commentées

Harbour scene, vers 1845

« This photograph has been taken by Calvert Jones and I like it. It is a harbour scene. The gentleman in the corner looks very unsuited to spending much time by the sea and his clothing looks incredibly incongruous for the scene and also for now. I often wonder when I see pictures like this of Victorian times whether when people look at pictures of us now from 150 years hence they’ll think we’ll be wearing incredibly incongruous clothing for our setting. »

Harbour Scene, c.1845 Calvert Richard Jones, 1804 - 1877 Salted paper print from calotype negative

Harbour Scene, c.1845
Calvert Richard Jones, 1804 – 1877
Salted paper print from calotype negative

 

Sarah Bernhardt, , 1890

« This picture by the Australian Walter H. Barnett I like because for a start the clothes that Sarah Bernhardt are wearing — very flowing, pleated materials — of course are reminiscent now of Issey Miyake ‘Pleats Please’ fabrics. And also because it reminds me of one of my favourite books called The Song of the Lark by Willa Cather »

Sarah Bernhardt, c.1890 Walter H Barnett, 1862 - 1934 Platinum print

Sarah Bernhardt, c.1890
Walter H Barnett, 1862 – 1934
Platinum print

 

 

Magazine seller at Ludgate Circus, 1933

« I think if I was to think about these pictures any more than the first impression this would probably be one of my favourites just because of the whole concept of time being captured and time escaping from the image. If you look at this picture the only two people standing still are the person behind the camera and the woman selling the newspapers, whilst everything around her is moving. So there is this idea that the photograph is trying to capture time and the newsprint is trying to capture time or capture moments whilst everything else is moving, whilst time is moving on and is escaping its attempt to be captured. There are blurred images behind this woman as well. You know the doughty nature of her and the size of her — like this rock — and it’s taken in the middle of London as well, Ludgate Circus, and everything is going around and around. If I could see the image any clearer I could find out what the news title was saying. But ultimately the idea that it’s all basically unimportant because time marches on. So this is probably one of my favourite images. »

Magazine seller at Ludgate Circus, 1893, London, by Paul Martin

Magazine seller at Ludgate Circus, 1893, Londres, Paul Martin

 

Studio Interior, 1933

« I love the way the artist is in her ‘atelier’ and the way that the outside is framed by the window, and the rain is running down the window panes. So each of them looks like their own individual photographs as the actual picture of the whole scene is framed. »

Studio Interior, 1933 Gustav Seiden, 1900 - 1993 Gelatin-silver print

Studio Interior, 1933
Gustav Seiden, 1900 – 1993
Gelatin-silver print

 

Arizona Landscape, 1943

« When I first saw this picture the way I was looking at it was on a computer screen and I made the flippant comment that it looks like a desktop-textured screensaver, when in fact it’s an Arizona landscape and there is so much detail in it that you just get lost in it. I think it’s just that the perspective of the picture is such that it’s very hard to discern anything apart from this incredibly dense texture. And again, obviously reminding me of my personal experiences, like riding across the Arizona desert, getting up at six in the morning on the tour bus just to watch this incredible landscape whizz past on these abandoned freeways at that time in the morning. »

Arizona Landscape, 1943 Frederick Sommer, 1905 - 1999 Gelatin-silver print

Arizona Landscape, 1943
Frederick Sommer, 1905 – 1999
Gelatin-silver print

 

Milk Drop Coronet, 1957

« For some reason I find this picture perhaps the most sinister of any of the pictures in this collection. I think a lot of it is to do with the colours and the gloss. It reminded me of this film called, I think, ‘Twins’ [Dead Ringers] by Cronenberg with Jeremy Irons playing these two sort of gynaecologists, again using these bright reds and white and I suppose the crown image as well. And it also looks like a piece of viscera, the sort of white tubing. So those are the kind of things that I see from this image and I think they are quite disturbing. »

Milk Drop Coronet, 1957, printed later Harold Edgerton, 1903 - 1990 C-type print

Milk Drop Coronet, 1957, printed later
Harold Edgerton, 1903 – 1990
C-type print

 

From the series ‘Ravens,’ 1975-85

« Just seeing this picture straight away by Fukase reminds me of when I was on a bullet train earlier this year in 1998 going past industrial docks, and travelling at up to 200-odd miles per hour in this kind of landscape. Also it looks like it’s been rescued from the bottom of a burnt-out bombed filing cabinet, and it looks like a blue-print as well for some industrial landscape. So for all these reasons I have chosen that. »

From the series ‘Ravens,’ 1975-85 Masahisa Fukase, born 1954 Gelatin-silver print

From the series ‘Ravens,’ 1975-85
Masahisa Fukase, born 1954
Gelatin-silver print

Untitled, May 1997

« Well, of course, this is a very typical scene for me. I’m in a band called Radiohead and this is like after the show — the Radiohead dressing room and some of the fans come back to room to see the band, and of course the band have all gone home as early as possible. The light is very similar to that kind of thing. It’s a very hard light and there’s a general mess all over the floor. Of course they’ve made this mess — we would always clean up the mess after we’ve made it. This is a kind of place where I spend a lot of my life, unfortunately — those seventies corner suites pock-marked by cigarette burns and formica table tops and plastic cups spilling out crushed crisps and cigarette ends onto the tacky brown carpet. But saying that this could be someone’s home so I don’t want to be that cruel. »

Untitled, May 1997 Hannah Starkey, born 1968 C-type print

Untitled, May 1997
Hannah Starkey, born 1968
C-type print

 

 

Le groupe surnomme alors pour rire Colin « David Bailey » : http://fr.wikipedia.org/wiki/David_Bailey

They’ve taken to calling me Dave Bailey,” he says, mock-aggrieved. “Not even David Bailey, but Dave Bailey. They won’t be laughing this time next year when my exhibition hits the galleries of Europe.”

“Yes we will,” says Ed O’Brien, guitarist, placing a line of tobacco onto a small rolling paper.

“Oh, that’s right. You will, won’t you? What was I thinking of?

— Colin Greenwood Mojo, août 2003

 

En 2005, le site officiel de Radiohead.com se dote d’un blog, le « Dead Air Space », où Colin poste régulièrement ses photos personnelles :

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Les photos de 2005 sont prises avec un Canon PowerShot S70, dès nouvel an 2006, avec un Panasonic DMC-LX1, sûrement un cadeau de noël !

 

Régulièrement, en concert, on peut voir Colin prendre des photos du public, des autres membres, comme ici à Manchester en 2008 :

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En février 2012, Colin et James Franco sont confirmés comme juges d’un concours vidéo organisé par le site Vimeo :

http://smartmoviemaking.com/second-vimeo-festival-awards-open-for-submissions/

 

En janvier 2013, Colin est en Afrique du Sud, à la rencontre de la CRF (Children’s Radio Foundation-), une fondation qui aide les jeunes à relayer les informations. Il a aisé en particulier à alimenter un blog, le Colin Radio Frequency, avec bien évidemment, ses photos :

http://crf.waste.uk.com/

Photo: Colin's camera: as an avid amateur photographer, Greenwood taking pics and blogging about his experiences in SA (Kate Stegeman) source : http://www.dailymaverick.co.za/article/2013-01-29-colin-in-the-community-childrens-radiohead-foundation-ambassador-and-bassist-of-note-visits-mzantsi/#.UZtXdIKzA4A

Photo: Colin’s camera: as an avid amateur photographer, Greenwood taking pics and blogging about his experiences in SA (Kate Stegeman) source : http://www.dailymaverick.co.za/article/2013-01-29-colin-in-the-community-childrens-radiohead-foundation-ambassador-and-bassist-of-note-visits-mzantsi/#.UZtXdIKzA4A

 

En avril 2013, Colin est jury au Festival international de la mode et de la photographie d’Hyères.

source  : http://www.varmatin.com/hyeres/hyeres-colin-greenwood-de-radiohead-aimerait-enregistrer-un-album-a-la-villa-noailles.1216613.html

 

En mai 2013, Colin participe au site aperture où il commente l’ ouvrage ‘Yoshino’ d’un artiste qu’il apprécie : Cuny Janssen, une photographe hollandaise née en 1995.
A lire là : http://www.aperture.org/pbr/pbr004colin-greenwood-on-cuny-janssen-yoshino/

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