Trying to Photograph the Wind…

I don’t like the wind it really freaks my out. I once remember a storm as a kid that created some crazy vacuum and blow the bedroom window open as I slept

During one of my many fight’s with the mass boardem that ravages my brain. I thought it would be a good idea to go out in Mochdre and photograph the wind. I wanted to keep the natural as shot feel the images have to show the conditions I was out in. I am however more than Pleased that I got the wind…

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Will it Change your View

Adding Photography to music is something that really interests me. I was approached by Joel Cockrill to work on a project with my images to his music. I think the music changes the feel of work. What do you think? The work is from three bodies of work. The now demolished car park from Get Carter in Gateshead called Trinity Square. It was designed by Owen Lunder. One of the top designers in the Brutalist movement. My Surrealist Seamless links work and the more recent ‘your last breath’

Grid Iron 2

Grid Iron 2 is my second collection of metal grills and vent covers. Its funny  im getting some really funny looks off people as I lean to the floor camera in hand seemingly taking a picture of nothing. Ha I hear you cry! Little do they know? This work is from Conwy, Hereford and Abergele.

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Your Last Breath #5

Alone, you call. ANYONE!!!

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Where is Hereford, got to see John Bulmer…

On Wednesday I go via my favorite form of public Transport (the Train) to Hereford. Now other than cows and a late goal by Ronnie Radford in the 1972 FA Cup at Home to Newcastle. I know little of the place. I have missed The Hereford Photographic exhibition over the past few years as I have been at Paris Photo. On seeing that John Bulmer was one of the attractions this year I decided to drag my grumpy soul to see his work in the flesh. I have looked at his body of work in Manchester.

Robert Adams writes in Why people Photograph ” At our best and most Fortunate we make pictures because of what stands in front of the Camera, to honor what is more greater or interesting than we are. We never accomplish this perfectly though in return we are given something perfect- a sense of inclusion. Our subject thus redefines us and is part of the biography by which we want to be known”.

John Bulmer he was around the same time as Don McCullin. He was famed for his colour slide work a pioneer of that time for using the medium of colour. If the newspapers need something document they would either get Bulmer or McCullin. John Bulmer really catches the change in Brittain with many areas still pulling them self from the legacy of the second world war.

Despite the bleakness of this image I still feel it has a positive direction to it. The man in the image we do not where he is going or has been. The mist that shrouds the image. The large empty space the gentleman walks through could be the same route he has taken to a family’s house or work for years. Refusing to use the modern modes of transport. However it touches on a post apocalyptic feel

Changing the image to black and white alters the feel and the impact the photo posses. It seem to flatten the picture with less impact

This maybe the other direction on the same street as the previous image. We feel the pub is the only business that can survive in the area. the Broadway sign on the pub makes draws on the importance of the name of the theatre area in New York. This the Northern Broadway where the pub is the pivot point of society. The Cobbled streets show use detail of the age of the area and a possible clue as to why the homes have been removed due to the old age. The street with the two young boys in leads you in to the mist and the unknown of the what lies ahead. With prospects not being clear for the future of the area.

So much information in this picture. I see it first as being a metaphor of empty space. The old man is detached from the area he is on he is no longer connected to any of the signs in the image. At one time he may have been a jeweller. The number makes you think of age and at 21 the old man may have been involved with sport. The way his foot is raised it make me think that he could have been a footballer. Maybe the football image comes from the fact we only its location on hand as Manchester to deal with.  The way the foot point at the entrance makes you intrigued at to what is going on outside of the composition on the image. the old man being dressed in gray sat on the bin is a negative slant of the image. Although the sign age dated with modern-day standards this was probably a well to do area. although we do depict it as being on the edge of city industrial area.

This image again I see as depicting an empty space that all the young people have to live off and express themselves with in the area is given before us in the image. The blue and white image makes you think you are in area close to the Manchester city ground. The images take on the modern feel of lowery’s work

The similarities of the picture are uncanny.  The people have almost the same stance

John Bulmer use of space to capture economic isolation in his series of images in Manchester is a powerful Body of work. I have found them really empowering to look. It makes me feel that what I’m doing is right. As I commented his use of colour slide film adds a real grit to the work. Almost like these are the real colours off life and it was that grim. Excellent document of a forgotten less complicated period in time.

The Robert Adams quote shows that Bulmer without displaying his local Knowledge has a connection to the area. Maybe as a child the matched identical street where faceless to him. Now he sees it being of interest to the masses

I look forward to seeing his work

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Tube, Lines and Tranquility

http://www.londonphotonow.com/

Photography by Mark Paulda

Tubea hollow, usually cylindrical body of metal, glass, rubber, or other material, used especially for conveying

 or contains liquid or gases.

The 1863 the first tube opened in London, the District and circle line. Now it runs like an artery through length and breadth of London. The above Dictionary description describes it well ‘conveying or containing liquids or Gases‘ A smell and special dirt all of it own and a heating system all of it own. Artists have often taken influence in the underground Photographer George Rodger to the Sculpture work of Henry Moore with his cramped twisted torso of blitz sheltering families. I stumbled upon Mark Paulda’s work on Twitter. The collection of his work in London is totally breathtaking. Mark captures the grit and inner beauty of the growl of London. His underground work however for me stands on the merits of it own two feet. You can almost hear The Jam’s Down in a tube station at midnight playing in these images ” the dissident echos of far away voice boarding far away trains”.

The image I have picked to look before you check out his site was a difficult choice. However the relevance of the image was all the square tiles on the wall for me. They made me think about all the information that passes through and around us a we move. Card Transactions emails phone calls… The use of infinity in the images shows the endless struggle of life on the commute. A sense of isolation and tranquility are also captured in the image. It also captures the distortion that can find while sat on the train and thinking ‘oh i can change at this stop’ and 10 mins later you are still walking in the control of the underground…

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The first step to making a picture that last’s forever on 11/11/11

Many questions are asked in the search for why we photograph, Steven Shore ,Robert Adams, Diane Arbus to name a few. I want to look at Roland Barthes thought process in Camera Lucida “A specific Photograph, in effect, is never distinguished from its referent (from what it represents)”  The use of the prop (the clock) changes the  feel of the image and how we engage it. Barthes also talks about it being a mathematical impossibility to recreate an image twice.

Following on from yesterdays comments about the truth in an image. I was asked to photograph myself at the 11.11.11@11:11:11 as part of a project. In this image my clock is the cattle skull (please see http://wp.me/pNIdU-jY). This images gives us many answers to the why. All be it not the best image taken we see it was taken for the Binary date. So bar name (me) and location (Mochdre) we has a lot a justification for the capture of this image: date, time, moon cycle & weather A time capsule for that second never to be captured again

 

The right in capture! Believing is seeing: What lies behind some iconic photos?

BBC News – Believing is seeing: What lies behind some iconic photos?.

Please watch the above

If, when, where, what…

All the many things we ask about an image. Is Photographer drive for social or economic change, a moment of chance, to show an experience.

I don’t disagree in the essence of the skull been moved as it was at the time trying to get a point across of the level of a national issue. However the Iwa Jima image is the other end of the scale. it was something that was spontaneous and missed. Then recreated in an act of power led by Generals. I think this is covered very well in the Clint Eastwood film Letters from Iwa Jima.

My work in the ‘Your last breath” captures a fictional moment to me the photographer but a recurring theme of streets of Britain with the ultimate price for acts of misadventure or Your last Breath…

Grid iron

Having spent many year looking up in built up areas. I’ve now decided to look down. Welcome to Grid iron… I’m trying to capture the craftsmanship in the metal vents and grills on builds

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Your Last Breath #3

The closeness of safety seems to far…

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Joel Meyerovitz Talk at Darby Format 2011

I went to Format festival In Darby. This will be the last Space I will visit as it must be full steam ahead with my Exhibition. I went to Format two years ago. The Main Reason was to see a talk by Joel Meyerovitz  the American street  photographer I knew that this would be good to  see but I wasn’t ready for how much of a impact it would have on me. I’m not a fan of modern street photography as I see that most of it has been done in the past by masters like Meyerovitz Arbus and Winogrand. He was said to be on for over 1hr. 2.15mins later he asked did anyone have any questions?

He was like a evangelist giving a sermon. He spoke about his early days in graphics and the guy coming in to take pictures of his work which was Robert frank. He worked a lot with the Maverick Tony Ray Jones. where they both discussed the putting the subject at the side of the image as it was just as important as the traditional Middle. He talked how ” he would sharpen his skills by knowing where in as shot he didn’t have time or show courage”. Meyerovitz said the main lens he would use would be a 35mm on his Lieca as this was closest to the human eye. He kept preaching that you should always carry a camera that is how he got most of his shots. He Said “The world is dissolving in front of you have to take every second”.

When he started out there was only one small gallery in a  underground basement in the whole of New York that would show Photo images. The only Exhibition he ever saw there Ansell Adams and you could buy a original of his images for $25. It wasn’t until M.O.M.A curetted by John Swarovski. That photographty become recognised. He encouraged The crowd with “ Take a risk, take bad photographs be provocative”. All this was rumbling along at a great space to him using his view cam (10×8) camera. His work totally changed from the street photography that made his name. He had taken a large picture of the space at Versailles in the 1960s which in the mid 1970s become relevant and linked to the large format work he would from there on under take. However in October 2001 he was due to open an exhibition of work called looking south. This was from his studio and it was the changing skies of the world trade centre.

However there was on change in the September that the world could never predict. 9 days after 9/11 Meyerovitz had to do something. so he started to document inside the rubble of the World Trade Centre. He went from 10 stories high to 72 ft bellow sea level. I reckon that s about he size of the Blackpool tower to give a sense of scale. This is the only major document of the event. He had to cross red tape and threats of arrest to go about his job for the people. This will be shown in a book later. However through all the genius and Brilliance of the Talk. The last picture really choked me. A gray work man’s glove and rail track. This was the rail track of the land below the world trade centre that held the underground .9 months after he started photographing he was at the rail track. A Roland Barthes Comments With his Studium and punctum. This was a great example of it. You loved the image on first glance as you had a rough knowledge of the subject mater. It was when he explained that there was grass growing that had been covered for the thirty years that the trade centre had stud on it. He was using this for a Metaphor of how life heals and moves on. This was the closing statement from Joel Meyerovitz. Totally blown away by a master of his trade with a tear in my eye concluded a beautiful Experience.

 

How i fell for Andre Kertesz, while leaving a Paris Behind…

Striking while the irons hot is not always great in the long run. Did paris Fail or did i Fail Paris?

Judge for yourself!

Paris Photo 2010 at this moment in time feels like The Clash Signing to Capitol Records. Did they or did they not sell out. Am i more wiser to the whole corporate side of the photo extraordinary. Thing at the back of my mind was Brighton Biennial was better. I noticed a few things the main one being the amount of adverts in the book you get on the door. I just seemed to be embracing the dollar rather than the dergenotype.

The first thing to catch my eye was the work of Mitch Epstien the image taken from his American Power series. The image was a large aluminium A-0 print. It showed some kind of NYPD look out/guard. Who’s blue uniform stuck you first in the images darkness. He was looking out through his binoculars this creates the first sense of unease in the image. Your eyes then pull to the large sweeping stairs behind the officer. Giving you a sense of scale of what the man is in power of. Last of all you are pulled to the pump-action shot-gun on the table. This the smallest item in the image is the shock factor. Showing how Epstien try’s to document the people in the land of the free who hold the power. I Found a wonderful set of images by Eve Susman.

She had taken the standard from the car window shoot that has been familiar over the years. I thought Sussmen had just taken advantage of the the tinted windows in the car until we seen one of the image was polarized at the top with the over exposed at the bottom. A good solid set of images pushing a standard topic of shooting through a window.

Luis Strettners work in New York just had something differnt to the work you see of Bruce Davidson Mary Ellen Mark etc…

I guess when the above image was taken it may not have had the social impact that we Know associate with the World Trade Centre so i guess i can only talk about how i viewed the image. I just found the bird linking the two buildings so powerful.The thought of flight taken the the total juxtaposition we visualize today. Th gray of the images add to the distant memories people see unfold. Raymond Depardon work of almost isolation of houses in amongst a clutter of streets pulling through the individuality and craftsmanship of french architecture. I think Depardon for me a massive type of the hat of what im trying to achieve with my Maps: empty Spaces project

jessica backhaus beautiful im age of a wet empty tennis court

is simplistic and beautiful in many ways. the images although taken on wet miserable day still has a relaxing reflective feel to it. The clever use of the green enhances the lack of foliage on the tree. This possibly reduces some of the negativity the image may have is it was showing the sky in it as well.

Tom Hunter‘s work he is structured around the classical paintings of the past. He works his own modern-day interpretation by recreating the painting in a modern ay setting. I’m not sure where i stand with this process but if nothing else its clever and his use of retitling his image defiantly ads and give it credibility.

It was really nice to see Richard Billinghams image of himself, young child and  father. Who was documented in the book rays laugh where billingham documents the troubles yet strong love of his father and mother in the difficult life conditions of their Birmingham tower block accommodation.

For me this image brings closure of what happened after the book(as shown Above). The book almost leaves you with a lump in your throat at the deprivation. Some again may see this as exploitation, taken advantage of a inn cohesive alcoholic. When putting the images into context I guess people find this as way to coupe with how they have been brought up in the world.

Mike brodies work of cross processed images was a full set of images showing a group of punks in America. Just so powerful in an undesirable state of anarchism. The Nihilismtic feel that goes with the full body of work transcribes itself to almost a feel of the Mad Max films.

I was disappointed with my under par performance or maybe I’m just getting more refined in my old age.  I would say my favorite body of work was exquisite was the exhibition of Andre Kertesz life works

I always try to push and push to find everything out there but i would say most photographers have very little expression on how a capture scene subject or situation. I think from my collection of images below Kertesz has successfully infiltrated the mass random canvas of my mind…

Kurtesz was quoted as saying

“Everything is a subject. Every subject has a rhythm. To feel it is the raison d’être. The photograph is a fixed moment of such a raison d’être, which lives on in itself.

raison d’être meaning reason for existence was written in the exhibition. I think this is a very powerful statement i find it hard to break it down but to me it just makes sense in the way that i capture things. I don’t know why I do it I just do. Hopefully that doesn’t sound like a cop-out from breaking it down. Kertsez work seem like image of fine art they are so tight in there composition.

So im yet to decide if Paris 2010 will stand as an iconic moment in photographic journey. I was really disapointed to miss out on the Gaza W

Exhibition thats was in the french museum of modern art. I feel this would have given the trip a nice full stop in my mind. Every i have gone in the past ive ended on a peach of an exhibition the first year it was Lee Miller then Last year it was Robert Frank Diane Arbus and Henri Carier Bresson. I just didn’t feel any excitement which gallery’s often create for me.

Anyway im off to an evening with Excellent British Landscape Photographer John Davis in Liverpool @ the open Eye Gallery