I am filled with admiration for people like Joni Sternbach, who not only take a large format camera into the field but because she is using a wet-plate collodion process the photographic plates must be prepared and developed on location too.
The project that I’m most familiar with is – Surfland. It’s a project that was started ten years ago and has taken her to local surf spots on both coasts of the US, to Hawaii, Uruguay, Australia, France and England. It is a fascinating exploration of surf culture across the globe and well worth a deeper look.
Check out the Surfland project on Sternbach’s website here. There are also a couple of books associated with the project that can be found on her website here or from amazon.
I’ve enjoyed editing images on my phone over the last couple of years. The game I play on instagram is that I can only post images there that have been taken and edited with my phone. This is less impressive than it was say 5 years ago but I’m sticking with it.
The apps that I have on my phone for image editing generally push me out of the zone that I would be otherwise be in if I were editing the images on the computer. I’ve been wondering over the last couple of weeks whether I’ve really been exploring the full potential of my images with my conservative image editing and so I’m going to play and push a little. As Brian Eno says go to an extreme and retreat to a useable position.
The first image is above. One version in color and one in black and white. With do you prefer?
Sally Mann is best known for her large format black and white photographs many of which, to me at least, have an experimental quality. She came to prominence with her work ‘Immediate Family’ which featured her three children, all of whom were under 10 at the time, playing at the family’s summer cabin. More recently her Memoir ‘Hold Still’ has brought her work to a whole new audience.
I’ve had Sally Mann’s book ‘A Thousand Crossings’ on my desk for the last year or so. The book is the catalog for the exhibition put together by Sarah Kennel of the Peabody Essex Museum and of the National Gallery of Art.
The exhibition and book follows Mann’s exploration of her relationship with her family, the land and her southern heritage in 5 major blocks of work – family, landscape, battlefields, legacy and mortality. There’s a great description of the work and her process on the getty site here.
Watch the short introduction to the exhibition from Sarah Kennel and follow that with the longer introduction by Sarah Greenough. To watch a short video of Mann at work click here.
I’ve been following Jack Lowe’s ‘The Lifeboat Station Project’ for a while through his instagram posts. I was excited when I saw that he’d photographed the lifeboat station of the little Yorkshire fishing village where I spent my summers.
The RNLI – The Royal Lifeboat Institution – is a 200 year old charity that saves lives around the coast of the UK and Republic of Ireland. That the RNLI is a charity and uses community volunteers really distinguishes it from services in other countries such as the US coastguard. The RNLI provides a vital service and is well worth supporting.
Jack is on a mission to photograph all 238 RNLI lifeboat stations in the UK and Republic of Ireland. That in itself would be a challenge but to make things more interesting Jack’s choice of medium is wet plate collodion. He’s making photographs on glass plates and developing them in the field using his mobile darkroom Neena, a refurbished ambulance. The culmination of the project will be a book and exhibition that will help the RNLI raise awareness for their mission and funds to support it. Check out how Jack’s project is progressing on his mission map page here.
I had a hearty dose of nostalgia when I first came across the work of Paul Hart. I grew up in the north east corner of South Yorkshire, close to the borders of East Yorkshire and North Lincolnshire. The mining village where I lived was surrounded by farm land and so biking out of the village in almost any direction I would see vistas such as the one above.
Paul Hart has published three books of his work – Truncated, Farmed and Drained. Farmed and Drained are the first two books in what will eventually be the Fenland trilogy. Francis Hodgson in the preface to Drained describes his work this way “Paul Hart is a photographer interested in the slow harvesting of hidden truth from the ordinary places that most of us pass by”.
His images have a special resonance with me. I wouldn’t have thought to stop and take photographs of what for me was the everyday but I wish that I had. The view from our upstairs window used to be across a farmers field, the canal and the river with an odd little house on the bank between the two. I have no idea if the house is still there because the housing estate that has sprung up on the fields obscures the view. Paul’s work reminds me that as photographers we have a duty to photograph our everyday as well as the spectacular scenes.
The Bio on Paul’s webpage tells us that he’s working with ‘cumbersome analogue equipment in and unfashionable area’. I’m personally glad that he is and hope he keeps at it.
Check out more about Paul here and listen to him describe his truncated series below.
The image above is from Ellie Davies ‘Stars’ portfolio created by combining images of the forests of southern England with Hubble telescope images. For many forests are magical fairytale places for others, myself included, they are dark and scary places. Yet I find the Stars series of images compelling, they draw me in, make me want to step forward and cause me to look closer.
I have been thinking about how a single theme can be developed and extended – Ellie’s projects are a great case study. Silent, Deep and Dark serves as an entry point, both literally and figuratively, into the forests. This body of work explores the forest boundaries – the edge between outside and inside, light and dark. From here Ellie begins to interact with the forest, weaving patterns with wool, highlighting pathways with paint, powder, wool and paper, building structures that are reminiscent of barnacles or anemones, incorporating stars and most recently suggesting the presence of people by the introduction of fires.
Watch and listen to Ellie describe here work below and find out more about here.
I had been looking at some Michael Kenna images over the last weekend and in looking at his moonrise image came across Barbara Bosworth’s image from her new book ‘The Heavens’. I was intrigued enough to dig a little deeper.
Heavens is a photographic celebration of the not just the night sky but the moon, the heavens (stars) and sun. I enjoyed looking at the pictures of the moon and stars. They reminded me of looking at the stars with my dad on the walk home from my grans house as a child. I’m always interested in how photography can show us things that we wouldn’t otherwise see or allow us to experience in a different way. The image above is one example, there are others in the book including photographs of sun spots which I found fascinating. The
I am always keen to seen behind the curtain to get a sense of the creative process and I was not disappointed in this regard either. The appendix includes ephemera that went into supporting the project – books, a planisphere and copies of Barbara’s darkroom notebook pages relevant to her work on images that went into the book.
The Heavens portfolio can be found on her website here and you can find out more about Barbara here.
Listen to Barbara discuss one of her earlier projects ‘Birds and other Angels’ below.