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Lindsay Oliver Donald here bringing the news in 2020 that POALAOF is heading for a second printing. 

POALAOF IS A PICTORIAL BOOK

PORTRAIT OF A LEGEND AND OTHER FOLKS is a PICTORIAL BOOK.
What is a PICTORIAL BOOK?

It is a book with "a page size big enough to carry a given image’s dynamic. The eye must be required to move about within the boundaries of the image, not encompass it all in one glance."

It is for display and is used to inspire conversation or alleviate boredom.

These books are usually quite large and filled primarily with photos, although they usually include some text to go with the images. A good PICTORIAL BOOK is equal parts decoration, affectation, and education.

A PICTORIAL BOOK offers a person the chance to subtly define elements of his or her personal tastes and interests. If a person's passion is reggae or photography then POALAOF is a must.

The PICTORIAL BOOK provides an experience that the Kindle cannot compete with.

Why does a PICTORIAL BOOK cost so much?

Beauty sells, and costly books are all about beauty, usually in the form of art or photography. The book itself becomes a piece of art, "something tactile, that you can hold and feel and see the quality of."

Are PICTORIAL BOOKS important for your children?

YES! They’re fantastic windows into worlds that most kids just don’t have the ability to experience on their own. While picture books often present big, lush illustrated landscapes – sometimes based on real life, but normally fictionalized – PICTORIAL BOOKS  present a completely different experience. PICTORIAL BOOKS are all about curation. They’re about collecting perspectives on the real world, gathering together that material, showing the connections between that material, and then presenting those collections in the most visually appealing way possible.

WHY SHOULD YOU INVEST IN PORTRAIT OF A LEGEND AND OTHER FOLKS?

Because it makes a personal statement about yourself. When you invest in PORTRAIT OF A LEGEND AND OTHER FOLKS  you are saying ‘This is what I like,’ and ‘This is what I know,’ and there’s no other type of book that can do that.”
There is something about a PICTORIAL BOOK that can tie a whole room together and bring it to another place.

PURCHASE PORTRAIT OF A LEGEND AND OTHER FOLKS DIRECTLY FROM MY WEB PAGE.
http://www.poalaofthebook.com/

INVEST IN FINE ART

http://www.poalaofthebook.com/

Invest in Fine Art.
Pre-order Portrait of a Legend and other Folks.
Free shipping.

Passez votre pré-commande de "Portrait d'une légende et autres personnes." Faites un investissement dans le domaine des beaux-arts.

"Invierte en Arte. Pre-ordena "Portrait Of A Legend and Other Fine Folks". Envío gratuito".

Investi in arte raffinata. Pre-ordina RITRATTO di una LEGGENDA e altre PERSONE SPEDIZIONE GRATUITA

Investeren in Kunst bestel Portret van een legende en andere mensen.
Gratis verzending.

美術品に投資しましょう。

伝説の人達の写真集の先行予約ができます。

送料無料

Επενδύστε στις καλές τέχνες Προ-παραγγείλετε το "Πορτρέτο ενός θρύλου και άλλων φίλων" Δωρεάν αποστολή.

Za sve ljubitelje Boba Marleyja i ljubitelja likovne umjetnosti!
Lindsay Oliver Donald remek Portrait of a Legend And other Folks !
Knjiga se može unaprijed naručiti! Nema dodatnih troškova za poštarinu!

THIS IS THE MAN THAT PHOTOGRAPHED 'THE GOLDEN AGE OF REGGAE'

THIS IS LINDSAY DONALD. THIS IS THE MAN THAT PHOTOGRAPHED
'THE GOLDEN AGE OF REGGAE'.
A FACT.

OPEN LONDON

Open London is a small project which began in early 2012 documentating probably one of the greatest city in the world, London.

A PARTNERSHIP TO BENEFIT THE PARTNERS!

http://poalaof.wordpress.com/2012/04/25/a-partnership-to-benefit-the-partners/

SPEAKING WITH LINDSAY DONALD

http://itsbraap.blogspot.com/2012/02/speaking-with-lindsay-donald-his-life.html

FAMILY OF MAN

Black and white photography has a way of letting the viewer really experience the image. Composition, light/shadow, texture and tonal qualities all become more obvious and important when color is absent.
Black and white portraits have an entirely different impact than color ones. When color is removed we are allowed to see into the subject, to really get a sense of emotion more so than if it were color.
Another way I look at it is if an image had a soul it would be black and white. Stripping away the window dressing (color) allows you to get down to the real essence of the image.

LINDSAY DONALD AND HIS GIFT OF PHOTOGRAPHY

Reggae musicians have been accused of selling Jamaican culture. It is not selling  our culture. If God hadn’t given me a song to sing I wouldn’t have a song to sing. Ya kyaan sell culture.

I was to take this photograph of the Honorable Robert Nesta Marley O.M.

LINDSAY DONALD THE PHOTOGRAPHER

For twenty years I had been photographing contentedly. The world was a calendar: Sunset after sunset. But slowly and subtly ‘the calendar view’ of the reality, was being cut and I began to experience a quality of struggle between my clarified sense of perception and my old learned photographic responses to the outside world.

I somehow slowed down and began to sit quietly on my own and saw that I had to join the practice of meditating with the technical knowledge of photography and not to keep them as separate compartments in my life! I also had to understand that I should trust that first thought, and to go along with it and not to conceptualize too much in my work.

I figured that I did not have to impress an imaginary audience as I was shooting, that way I was able to approach the whole thing simply. In a nutshell, I had to learn to appreciate the ordinariness of the world around me. Someone said to me, that I should learn to sit down and meditate, because meditation slows down the basic speed and aggressive qualities of the mind and it also allows the senses to operate in a more natural and uncluttered field, which is unbiased by considerations of what I would like or not like to see!

While shooting the bulk of this work, I was noticing that I was being caught in a mind trap. I was not shooting what I saw. In the first instant, a fresh perception would occupy my thoughts and immediately, I would get another flash of inspiration of how I would have like to shoot the same subject. I would inevitably lose the first fresh idea, and photograph along a predictable conditioned response. This split between my first and second thought became extremely frustrating. I had no way of relating with that frustration.

As my work developed, I began to appreciate that the images I was producing were coming closer to recording things as I was actually seeing them; somehow, the basic qualities of people. From that point of view, I feel that one major obstacle has been removed from my journey as a photographer. I am now able to share my experience of the world with this increasing simplicity.

For any photographer who wishes to express his or her vision of the world as they see it, what they say can be enormously helpful and inspiring for future generations.

DUFFY THE MAN WHO SHOT THE SIXTIES

THE MAN WHO SHOT THE SIXTIES from CHRIS DUFFY on Vimeo.

THE BLACK TRINITY

I was influenced in becoming a photographer in the late sixties by the work of David Bailey, Terence Donavan and Brian Duffy. This trio of British photographers dubbed, "The Black Trinity", captured The very essence and mood of the ‘Swinging’ Sixties’, and I am convinced they shaped the image of London in the 1960’s with their striking portraits of actors, models and musicians. I have indeed met all three and Bailey remains the only surviving member of that trio.

CHILLIN IN HARROW

In 1962 I emigrated to Harrow, England, to live with my mother. After leaving school in 1968, I got my first job working for Eastman Kodak where I developed a love for the art of photography.