Saturday, 26 April 2014

A New Start

It has been a very long time since I last posted anything on my blog. I have been thinking about using it again to share the things that I love and have a passion for with anyone who chooses to read along. So here goes ...

Tuesday, 26 July 2011

Tina's Wedding Day

Earlier on in the year I photographed a family friends wedding day. Wedding photography is not something I have ever thought of doing before but for my mum's best friend I made an exception. It was an amazing day in many ways and I was pleased with the Photographs at the end of it.

All Photographs taken with a digital SLR

Tuesday, 8 March 2011

Definitive Denim

I have recently co-written an article for about key denim trends with my colleague Kat Woodford. After the article was written I took a few possible images to accompany the article. This was done very quickly with basic equipment but they were pleased with the results and my ideas on how to display the images and decided to use them.

Read the full article here:

I Love Film

Just had a film developed, you never know what your going to find.
Here are a couple of friends and family.

All shot on my Contax T2

Tuesday, 22 February 2011

Shadow Catchers: Camera-less Photography

Shadow Catchers was a fantastic exhibition at the V&A. I managed to get in to see it on Friday just before it finished this weekend.

The exhibiton showcased the work of five artists/photographers who make their photographic work with out the use of a camera. Along side the artists prints the V&A also displayed test strips, display cases and a short film about each artist.

Floris Neisuss' work deals with photograms and the piece the captured my attention was a photogram of a human figure sitting in a chair. This was displayed life-size on the floor with the empty wooden chair standing atop the print. The title of this piece 'Be right back', gives a comical meaning to the piece. This print grabbed me because of the nature the photogram and how you achieve different densities in the image. The figures shoes were in a sharp dark shadow if you like and the head and hair in a much softer, lighter shadow. For me, I could see exactly how the light, that had exposed the image, had fallen onto the paper. This seamed to be a unique way of looking at what would have been a traditional photogram.

Pierre Cordiers work is centered on the 'chemigram,' which he discovered in 1956. This process is about directly manipulating the surface of the photographic paper with different substances. Cordiers work had a very clinical and scientific feel for me and did not interest me as much as the other works in this exhibition. I felt that I needed a lot more information about how he had created his images to fully appreciate them and this is something I would like to find out more about.

Garry Fabian Millers work looks at change over time. The first images in this section of the exhibition look at plants and the natural world. Miller used an enlarger to make a direct translation of the plants onto photographic paper, the images are life size and for some reason this frustrated me, I wanted to see the detailed colourful leaf as big as possible although the idea of Millers work is a direct translation, not a manipulated one. The second half of Millers work was about colour and making more abstract work in the darkroom. This part of the exhibition lost me a little, Millers work became a lot more about fine art than photography I could not understand or appreciate it as much as say the simple yet ancient photogram.

Susan Derges began photographing still life in a studio environment before she changed to a camera-less form of photography when she became inspired by the natural world around her. Her series of season arches were my favourite pieces in the whole exhibition by a long shot. Displayed as huge arched windows and with one for each season, they were made up of a few different elements. The first begins with scans taken of ink dispersing in water. These scans are then printed into large transparencies and placed under a glass tank filled with water, flowers, reeds and grasses (different natural objects to represent different times of year) these were then photographed and the images stitched together to make the final pieces. They are magical, huge scale, beautifully simple, natural scenes silhouetted against vibrant blues and I want one.

Adam Fuss was the only name I recognised out of the five artists. Again he works with photograms and said in the video made about his work that his photograms have more feeling and intimacy than a photograph. He also said 'you don't create you die!' I think this is a great idea, that creating is about survival. I enjoyed one print in particulat titled 'Ark' that showed a simple droplet falling into a flat surface of water. There was something so pure, calming and instantly recognisable about this image. I also fell in love with his daguerreotypes of butterflies from his 'My Ghost' series; I must learn more about these, I think I may have to buy the V&A's book.

All in all a fantastic exhibition once again and well worth the £5 entry.

Unfortunately there are no photographs to accompany this post, as cameras were not allowed.

Sunday, 5 December 2010

So I Graduated

Just a few pictures from an amazing snowy day and evening in Cheltenham.

All images shot on 35mm colour negative using my Contax T2

Thursday, 11 November 2010

Muybridge in Kingston

I have been working in Kingston for the past few months and couldn't miss the opportunity to visit the Eadweard Muybridge exhibition.
Muybridge was born in Kingston in 1830 and after travelling most of his life he bequeathed his personal collection of his work to the town when he died in 1904. Along side an exhibition at the Tate Britain, Kingston's own museum is showing a small exhibition of Muybridge's work. I had the place to myself and was able to take my time reading all of the information on offer.
Eadweard Muybridge and his inventions were so important to the world of photography and moving pictures. He used photography and his Zoopraxiscope to show both people and animals in motion. Muybridge was originally acting as a scientist and his work was not instantly praised and appreciated for what it could show. And so Muybridge became a showman manipulating his work to make sequences that would appeal to his Victorian audience on a humorous level and earn him fame and fortune in return.
The exhibition showed many of Muybridge's original Zoopraxiscope discs as well as explaining how they were made, the equipment used to the project them and the way in which Muybridge made his name in Victorian times. At the end of the exhibition you are invited to sit and watch Muybridge's sequences projected onto a screen, they have been created to replicate what a Victorian audience would have seen.
The only thing missing from the exhibition was a little more technical information on how Muybridge created his original photographs but after asking an attendant at the museum I have the contact I need to find this out myself if I choose to. All in all this was a great, free, exhibition.

As well as this exhibition titled Muybridge Revolutions, there was another exhibition showing at the Stanley Picker Gallery by a contemporary artist responding to Eadweard Muybridge's work.

This exhibtion by Trevor Appleson titled, The Dance of Ordinariness contains four large screens that show a series of films simultaneously. Combined with sound these films show a women in a black studio completing every day activities. The motion has been slowed down and so allows the viewer to see details in these choreographed events that they would not normally see or possibly care about. For me this exhibition gave me a small impression of how a Victorian audience may have felt watching one of Muybridge's moving sequences.

All images shot on 35mm colour negative film using my Contax T2