The last time I saw my aunt J in person was in Vancouver for Dad’s funeral ten years ago. The last time I set foot inside aunt J’s home in Calgary was in 1976, which by now is a mere hop for a 50-year anniversary.
My mum’s big sister is celebrating her 100th birthday this month, and many members of the extended family from across North America are gathering in Alberta’s most populous city for a momentous celebration.
My photographic traces of a late-summer morning and afternoon wandering the city centre is on display, “outlined” by various pieces of art and architecture.
I’m in Stuttgart for a few days, and I rediscover photographer Gerda Taro was born in the city. I’d already read some history of photography, including the Spanish Civil War and Gerda Taro as the first woman to photograph and publish images about open conflict. I’ve gone looking for some traces in the city of her birth, as a quick and spontaneous mini-project in the midst of 90 consecutive days in Europe.
Memorial, near Olgaeck
Near the bus and tram stop Olgaeck is Gerda Taro Plaza, in memory of the young woman photographer who was born “Gerta Pohorylle” in Stuttgart and who once lived with her family in the area. At the plaza is a 2014 memorial dedicated to Taro; the text on all nine panels is entirely in German.
Named for photographer Gerda Taro (1910-1937), the plaza was unveiled by the city in 2008, and redesigned in 2014 with the installation of the memorial.
“O”. Gerda Taro, a pioneer in war photography.
“R”. The 1920s: Jazz, Theater, and the Stuttgart Kickers.
“A”. Leipzig: distributing leaflets against Hitler.
“T”. Exile in Paris: meeting André Friedmann, and the creation of Gerda Taro and Robert Capa. There is no Capa without Taro.
“A”. The Spanish Civil War, 1936-1939.
“D”. Barricades, armed women, equitable distribution of land.
“R”. The camera as witness: misery and terror from bombs.
“E”. Getting up close, for the world at large.
“G”. The first woman war-photographer killed on location. Documenting Spain’s civil war with her camera, Gerda Taro was accidentally run over by a tank and died from her injuries in a hospital near Madrid on 26 July 1937. She was buried in a marked grave in Paris’ Cimetière du Père-Lachaise.
Republican militia women training on the beach outside Barcelona, Spain: photo by Gerda Taro, August 1936. Provided by Ur Cameras on Flickr via Creative Commons.
Family home
Not far from Gerda-Taro-Plaza, I found the Pohorylle family’s former home, based on this poignant essay. I didn’t see any Gedenktafel (memorial plaque) or any Stolpersteine (stumbling stones) in the pavement, at or in front of either building 170 or 170A. In 1929, when Gerta was 19 years old, the Pohorylle family moved from Stuttgart to Leipzig.
Obstructed view of the former Pohorylle family house (in light orange), as seen from passage off Cottastrasse.
Gate to path access for building address Alexanderstrasse 170A.
Former Pohorylle family house, at Alexanderstrasse 170A.
Taro, short bio
Born Gerta Pohorylle, 1910 in Stuttgart, Germany; died 1937 in El Escorial, Spain.
“… Studied in Leipzig starting in 1929. Emigrated to Paris in 1933. In 1935 began working with the photographer André Friedmann, later known as Robert Capa. In 1935-1936 worked for the Alliance Photo Agency. Shortly after the outbreak of the Spanish Civil War in the summer of 1936, she and Capa went to Spain; other photography assignments in Spain followed in early 1937. She was fatally wounded at the Brunete front in July 1937 and was the first female war correspondent killed in action.”
Source: “Women War Photographers: from Lee Miller to Anja Niedringhaus” (Munich: Prestel, 2019), p. 218.
I made all photos above with an iPhone15 on 22 Jul 2024. I received no support from an external organization. This post composed with Jetpack for iOS appears on Fotoeins Fotografie at fotoeins DOT com.
Seems like yesterday: ten years have disappeared in a flash. And yet, a hint of grief is as fresh, now as it was then.
Before dawn, I swear I heard his voice calling out to me. The official pronouncement: 610am, 9 August 2014. Ken Lee, dead at 82. I was afraid I had already forgotten his voice.
Northern summer will always have an air of finality, tainted by memories of frailty and inevitability: entropy at its absolute finest.
One day, I’m on the well-travelled stretch between Mannheim and Cologne, fiddling between an online ticket for an express train and an online (Deutschland-) ticket for the next regional train.
The next day, I’m in a Vancouver cemetery on a late Friday afternoon. I see only two to three other visitors out here. It is almost mid-August. Sun’s out, it’s almost 30C. Somewhere outside of this green patch of stone, metal, and flowers, life thrives and goes on. For me, I’ve come back to get “stuck”; I might as well be 8000 km away, back on the other side of the planet.
Up on the 10th floor is/was the palliative ward where Dad spent his final 2 weeks.
Ocean View Cemetery.
“Hey, Mom and Dad: it’s me …”
I made the photos above with an iPhone15 on 9 Aug 2024. This post composed with Jetpack for iOS appears on Fotoeins Fotografie at fotoeins DOT com.
Above/featured: Vienna’s green vineyards on Nussberg, with Kahlenberg at centre in the background. Photo, 14 Jun 2023.
A year in review typically provides coverage spanning a period of six months or more; the period doesn’t even have to be a continuous stretch. But in this case, my highlights come solely from a period of six weeks in May and June. All else pales by comparison.
All of the images presented below have been corrected for geometric distortion and rotation, with further adjustments to image-crop, brightness, contrast, highlights, shadows, clarity, sharpness, vibrance, saturation, and colour levels. These images are as always best viewed on screens larger than a miniscule mobile.
Above/featured: Taunusanlage train station, Frankfurt am Main – 18 Jun 2023.
The Fujifilm X70 mirrorless fixed-lens prime camera has added a lot to my approach to photography for projects in domestic and international scope. To satisfy my curiosity about Fujifilm’s analog-film simulation (film-sim) recipes, I’ve provided examples of X70 images with the following recipes:
Here I show images made with the “Kodak Color Negative” recipe, which Ritchie Roesch describes in Fuji X Weekly:
… The aesthetic that I was hoping to achieve with this recipe was Kodak Portra 400. I don’t believe that I succeeded in faithfully mimicking that (sometimes there’s a similarity); however, it does seem to produce a Kodak-like color negative film look, perhaps more like Ultramax, but not exactly that, either. Whatever it does or doesn’t resemble, I personally really like the aesthetic produced by this recipe …
The recipe is for X-Trans II sensors and the built-in availability of “Classic Chrome”. The settings on my X70 are:
“Classic Chrome” built-in film-sim
Dynamic Range: DR200
Color: +2 (High)
Sharpness: -1 (Medium-Soft)
Highlight: -2 (Soft)
Shadow: -1 (Medium-Soft)
Noise Reduction: -2 (Low)
White Balance: Incandescent; +6 Red, -7 Blue
ISO: Auto, up to 3200
I assigned this recipe for my “indoor” setting as 1 of the 7 camera’s custom presets, but the recipe’s versatility allowed for additional tests at outside locations. The following JPG images are “almost” straight-out-of-the-camera: only minor adjustments to brightness level and a crop to a predefined image size have been applied, with no corrections to colour, contrast, geometric distortion, or rotation. The blue (“cool”) colour-cast is very real, which is especially evident on images made outdoors under sunny conditions.
Fotoeins Fotografie 