EARLE DE BLONVILLE
PORTRAIT PHOTOGRAPHER
Thoughts
WHY PHOTOGRAPHY MATTERS
Starting with Joseph Nicéphore Niépce who in 1826 or 1827 captured an image from an upstairs window at his estate in Burgundy using a technique known as heliography, the first photographers were looking for the innate and universal essence of the subject, not merely a representation of it. They sought something that embodied the soul of the image as experienced by the viewer and which moved them emotionally.
Late 19th century photography influenced Impressionism's interest in capturing a 'snapshot' of ordinary people doing everyday things, which was a complete break with traditional formalism and highly theatrical art. Many painters used photographs to enable them to create impressionist paintings, and learned a range of new techniques from the science of photography.
Paintings capture the beat of one person's heart, a highly individuated response to environment or experience, but is there any universality in the image, allowing the one to stand for all? No, a painting is in truth biographical, while a photograph is essentially archival and universal.
The photographer is called to interrogate old certainties by exploring new possibilities with a fresh, challenging light. And, in the end, the image must speak for itself.
Starting with Joseph Nicéphore Niépce who in 1826 or 1827 captured an image from an upstairs window at his estate in Burgundy using a technique known as heliography, the first photographers were looking for the innate and universal essence of the subject, not merely a representation of it. They sought something that embodied the soul of the image as experienced by the viewer and which moved them emotionally.
Late 19th century photography influenced Impressionism's interest in capturing a 'snapshot' of ordinary people doing everyday things, which was a complete break with traditional formalism and highly theatrical art. Many painters used photographs to enable them to create impressionist paintings, and learned a range of new techniques from the science of photography.
Paintings capture the beat of one person's heart, a highly individuated response to environment or experience, but is there any universality in the image, allowing the one to stand for all? No, a painting is in truth biographical, while a photograph is essentially archival and universal.
The photographer is called to interrogate old certainties by exploring new possibilities with a fresh, challenging light. And, in the end, the image must speak for itself.
About
My principal interests are portraits and the magic of light.
From 1974 I shot 35mm - black and white for street photography and, on expeditions, mostly slide film. My images were used in magazines, newspapers and audio-visual productions. Since those days, I've worked with stills and movie format in Australia, UK, France, Nepal, Italy, Denmark and Greenland.
Today I shoot 'old skool' in monochrome using available light, fixed lenses, and traditional formats - 35mm and 120mm. I use a range of classic cameras including Nikon F4s with 85 f1.8, (the brick) and FM2n with 105 f2.5 (the McCurry kit), Olympus OM1 with 50 f1.4, Leica IIIf with 50 f2, Hasselblad 500cm with 180 f4, and Mamiya M645 with 150 f3.5. With fast film in low light, they capture timeless images with a classic raw and grainy human essence.
This site includes a small guest gallery of images from inspirational photographers active from the 19th to the 21st centuries.
I'm currently based on the Pacific coast of Australia. To discuss a portrait commission, email me: deblonville@gmail.com
From 1974 I shot 35mm - black and white for street photography and, on expeditions, mostly slide film. My images were used in magazines, newspapers and audio-visual productions. Since those days, I've worked with stills and movie format in Australia, UK, France, Nepal, Italy, Denmark and Greenland.
Today I shoot 'old skool' in monochrome using available light, fixed lenses, and traditional formats - 35mm and 120mm. I use a range of classic cameras including Nikon F4s with 85 f1.8, (the brick) and FM2n with 105 f2.5 (the McCurry kit), Olympus OM1 with 50 f1.4, Leica IIIf with 50 f2, Hasselblad 500cm with 180 f4, and Mamiya M645 with 150 f3.5. With fast film in low light, they capture timeless images with a classic raw and grainy human essence.
This site includes a small guest gallery of images from inspirational photographers active from the 19th to the 21st centuries.
I'm currently based on the Pacific coast of Australia. To discuss a portrait commission, email me: deblonville@gmail.com
Pic of the month
World Photography Day - 19 August 2021
Inuit boy, future photographer
This image was taken in East Greenland, in 1986, during Australia's first Arctic expedition. The boy lived in the tiny hamlet of Ikateq, on Ammassalik Island. We arrived at Ikateq in our sea kayaks in the late afternoon and this Inuit boy was very interested in our cameras. We had several cameras, including Nikon and Olympus, in addition to a 16mm professional movie camera.
The boy was entranced by my Nikon L35AWAF/L35AWAD waterproof rangefinder camera. In fact, he liked it so much that he crept back during the night and stole it out of the deck bag on my kayak.
Several years later, the camera case, with no film and its mechanism ripped out, arrived by post at Expedition HQ in Melbourne, Australia. There was no note or explanation. That was a mystery and so too was his interest in cameras: did he later become a photographer?
Camera: Nikon FM2.
Film: Ektachrome.
Inuit boy, future photographer
This image was taken in East Greenland, in 1986, during Australia's first Arctic expedition. The boy lived in the tiny hamlet of Ikateq, on Ammassalik Island. We arrived at Ikateq in our sea kayaks in the late afternoon and this Inuit boy was very interested in our cameras. We had several cameras, including Nikon and Olympus, in addition to a 16mm professional movie camera.
The boy was entranced by my Nikon L35AWAF/L35AWAD waterproof rangefinder camera. In fact, he liked it so much that he crept back during the night and stole it out of the deck bag on my kayak.
Several years later, the camera case, with no film and its mechanism ripped out, arrived by post at Expedition HQ in Melbourne, Australia. There was no note or explanation. That was a mystery and so too was his interest in cameras: did he later become a photographer?
Camera: Nikon FM2.
Film: Ektachrome.
