Saturday, 28 February 2009
Friday, 27 February 2009
Thursday, 26 February 2009
Jen Bekman is calling for submissions for the first round of 2009 Hey Hot Shot! Now this competition does get a lot of coverage, but $60 entry fee? come on Jen ain't no one told you times are hard? Fuck knows how they justify that. No doubt "admin" will be the excuse but knowing how many submissions they'll end up getting x $60 "Nice little earner" as our Del Boy would say.
In fairness to these NY wideboys the style of photography that they represent is pretty wide compared to the current narrow derth that gets peddled stateside, so fair play for that. I guess after this post I may as well save my 60 bucks..............
Wednesday, 25 February 2009
Yep, It's always nice when someone has something nice to say about you. And Duckrabbit were very complimentary about my photograph which I have imaginatively called "Dalmatian" actually I called it "Dalmation" because my spellings crap. Yes I know they also called me a "Gobshite" but I took it as a compliment.
Monday, 23 February 2009
While I was doing a bit of research for "36 Views of The Beetham Tower After Hokusai" which is a project I started last spring and am just getting ready to carry on with, I came across what has been called "Asian Pictorialism". The above image is by Long Chin-San. the old master who lived to the ripe old age of 104!
This is by Japanese photographer Suizan Kurokawa, whose work as you can see fits nicely into Asian Pictorialism. And I'm sure you can see how the above photographs relate to this wood block print by Hokusai.
And so for my series, it made sense to replicate, and continue in this style. Of course my series is a bit tongue in cheek, satirical I'm using The Beetham Tower as a motif instead of Mount Fuji, the new skyscraper has become Manchester's post prominent landmark and has started to appear on postcards and tourist paraphernalia.
Image Mark Page
I've still got a bit of a way to go until all 36 views are "in the bag" I shot the first set spring/early summer last year and am waiting until the same time this year to continue. I want the light and also spring foliage. These pictures are very different to anything I've done before, but I love having fun with photography and using different techniques. Well you got to have a laugh haven't you?
Thursday, 19 February 2009
Kevin J Miyazaki is 42. Which is how old I will be next Monday, that's Monday 23rd. Anyway never mind me and my impending birthday and the fact that I want photography books and some signed prints would be nice. It's Kevin's series "Camp Home" I want to draw your attention to not my BIRTHDAY.
Wednesday, 18 February 2009
Found the work of Mark Steinmetz over on Conscientious . Joerg says that some of the work is "outstanding" which I whole heatedly agree with. He also says "As much as I wish it was in colour" Which makes me want to know why? None of the work as far as I can tell is about colour so why use it? I think it would do nothing for the work at all. In fact there are a few images on the site that are in colour, are they better, stronger, is anything gained? What is this obsession (not necessarily yours JC, just in general) with colour for colour's sake?
There's a great quote here by Tod Papageorge
"I’m more interested in photographers than photographs. In other words, I respond more to a photographer’s total oeuvre, and what it demonstrates about his mind and creative understanding, than I do to particular pictures. By this standard, it’s difficult for me to call any color photographer in the history of the medium great, although I admire, for example, the early work of Bill Eggleston and Philip-Lorca DiCorcia. I want to forget the color when I look at a photograph, rather than being made unpleasantly aware of how it pulls at me for attention by being saturated or too full of contrast or jarring in its combination of hues.
It’s the operatic form of photography, you could say; in other words, more often than not, there’s an uneasy tension between its virtually unavoidable pictorial seizures and the poetic intimacy that I love about photography. But, just as many of the greatest works in music are operas (Mozart!), so are there many great color photographs. That success, however, is not built into the practice: the color photographer, like any artist, has to work against almost impossible odds to achieve something that’s finally persuasive, and, in my judgment, there are few such color photographers who’ve managed to do that through a life’s body of work."
Quote found on Foto8
Tuesday, 17 February 2009
Monday, 16 February 2009
I've gone and done it again. Because I love the work of a photographer soooo much and because this blog has been up and running for nearly two years I'm sure that I must have featured them here before. And I have'nt. I can't believe I've not featured Mark Cohen before!
"The Victorians" last night BBC1, written and presented by Jeremy Paxman was a great bit of telly. It also showed the importance of Manchester to that period in history. Made me feel proper proud! God I'm welling up just thinking about it. If you missed it catch it HERE.
It featured one of my favourite painting's "WORK" which of course can be seen HERE.
Friday, 13 February 2009
Thursday, 12 February 2009
A study of the role and place in society of Iranian women by Shadi Ghadirian. You can catch her at AEROPLASTICS gallery, which by the way is a great name for a gallery, February 13th to April 4th 2009
Opening Preview: Thursday February 12th 2009 6-9pm
AEROPLASTICS contemporary Jerome Jacobs 32 rue Blanche 1060 BrusselsBelgium T (32) 2 537 22 02F (32) 2 537 15 firstname.lastname@example.orgOpening hours: Tues-Fri 11 am -6 pm, Sat 2-6 pm or by appointment
Wednesday, 11 February 2009
Monday, 9 February 2009
Friday, 6 February 2009
Thursday, 5 February 2009
Redeye's major competition with £5000 in prizes!
Redeye The Photography Network is delighted to announce the launch of Capture Manchester, a brand new competition sponsored by law firm DLA Piper with £5000 in prizes. There are ten prizes of £500 on offer for the best new images of Manchester (UK).
The winners will be produced as postcards and larger prints, and all of the entries (providing they are legal and decent) will be exhibited at postcard size at CUBE Gallery in Manchester alongside the judges? choice of the first nine of the winning entries. There will also be the opportunity to vote for the People's Choice at the gallery for one final prize.
Winning entries will be reproduced as postcards that will be available throughout the city and beyond. Each winning image will be produced as a larger print as well as a postcard, so the image must work at both small and large scale. Images can be photographs, illustrations, design or reproduced artwork.
The deadline for entries is 13th February 2009 and there is a limit of one image per person.
For full details of how to enter, visit www.capturemanchester.com
This competition is a partnership between Redeye, Cube Gallery, Marketing Manchester and sponsored by the law firm DLA Piper.
Redeye is also running a short programme of talks and masterclasses by top photographers in Manchester from Jan to Feb 2009 including: Jem Southam (6th & 7th Feb) and curator Shirley Read (date TBC).
More details to follow soon.
For more information on Capture Manchester, contact Redeye director Paul Herrmann on 07836 553 223 or email@example.com. For full details of all Redeye?s activities see our website www.redeye.org.uk
Tuesday, 3 February 2009
Alison Nordstrom, Curator of Photography at George Eastman House, writes,
'Giacomo Brunelli has been looking hard at animals. His focus is not on the framed and caged exotica of zoos but on the ordinary animals that remain with us to some extent: horses, dogs, cats, chickens, pigeons. He shows us a fox, looking sharply at the camera and poised to flee, and there are numerous birds, a snake and several toads, but this wildness is small and fragile, living in the familiar liminal space where manmade and natural meet and overlap. His animals inhabit farmyards, cobbled streets and the facades of stone buildings. There are no tigers here.Brunelli's animals are often composed only of suggestive fragments. His spare black and white images are attuned to the nuances of a moving mane, a silhouetted whisker, a highlighted, almost illuminated wing. He favours the profile and the counterintuitive angle, setting dark unobservable features against dark undiscernable backgrounds. A dead mouse, on its back, paws in air beside an oversized flower against a stark and distant mountain is no more or less frozen in time than is the growling dog, eyes alight and teeth forever bared; both are icons of states we fear but cannot know. These pictures are timeless and uncanny, powerful in their ordinariness, and emotionally much bigger than their simple subjects'
She sums it up better than me, (even if she has made spelling mistakes!) but these pictures do move me. Perhaps they stir memories of tales of animals from my childhood, whatever it is I love these images. It's my birthday later this month and if anyone is wondering what to get me...........
Monday, 2 February 2009
Rauschenberg set out to retrace Atget's steps and rephotograph many of the same views, he made over 500 of these images An audio interview can be heard here courtesy of Lens Culture. I like most photographers also love Atget, and was looking for things about him on the Internet when I came across this project below.
These images are by Atget and the University of South Florida Art Dept Paris Summer School, which again aimed to rephotograph Atget's Paris. This project was started in 1987 and some of it can be seen here.