I’m looking at Jan Töve’s ‘Faraway/Nearby’ book the image above stood out to me. I was surprised that this image wasn’t on his website as part of the portfolio for this work. Hence the wonky image above snapped from the appropriate page in the book.
What goes on in this building? At first glance I thought that it looked like a grain silo but then there seems to be more going on.
I’m still working on articulating why this caught my eye. Certainly the color palette – I like the muted red and especially the blue. I find that I’m drawn to blues like this more broadly. The graphic form is also something that appeals to me, both the shape of the building and also the negative space that it makes. The diagonal line to the upper right and lower left give the image a bit of movement. Finally the mix of textures is also appealing to me.
Why did Jan take this picture? What do you make of it?
I’ve been exploring the world of graphic design in recent weeks as I thought about books and book design. It was not too many steps from graphic design to screen printing, which is something that I had thought about before.
I liked this intro to screen printing that I came across trawling through YouTube.
I was curious to understand how I might be able to apply this to photography. Could you? There’s a great course on Domestika that goes through how to use photoshop to make CMYK separations and then do a four color screenprint. Check out the trailer below.
Moving a step beyond photorealistic screenprinting to something more imaginative I realized that Andy Warhol had done this already.
And you can too…
I also think that Charlie Barton is doing interesting things combining screen printed photos with graphic shapes such as the Ferris wheel sunset below.
Definitely food for thought and I will certainly be exploring how I could print my photography and extend it through screen printing.
Susan Bein is a teacher, graphic designer and photographer based in Portland, Oregon. I first came across her work on Instagram, although how I found her there I’m not sure. I think I was following links from one person to another to another. On Instagram Susan is @Wizmosis – check out her work!
In her bio she says:
I was an art kid who began photographing as a teen because I couldn’t paint or draw what I could see in my mind’s eye. I took classes from many of the photo giants of the time; Ansel Adams, Minor White, Aaron Siskind, and Paul Caponigro. I used black and white film and large format cameras.
What an amazing opportunity to learn from the masters of photography a veritable who’s who.
Susan drifted away from photography and into graphic design and teaching. Falling in love with photography again with the advent of the iPhone.
I love her iPhone work that is on Instagram and featured in her book Slightly Bonkers. The book is more magazine-like which gave Susan an opportunity to include a large number of the images that she made during the craziness that was 2020. I’m glad she did. Take a quick look in the flip through below.
Check out Susan’s presentation in the video below and learn more at her website here.
In my poking around on the web I recently came across the photography of Josef Sudek. Sudek was based in Prague and actively photographed until 1976 when he was 80. He had lost an arm to shrapnel in the First World War which makes his work produced with a large format camera all the more impressive.
Sudek is often referred to as the poet of Prague and I can understand that. I find his images to be quiet and contemplative. I get a sense of loneliness or melancholy from many of the images. Perhaps that’s just me. The images shot in and around his studio reminded of Saul Leiter’s photographs – largely because of shooting through the condensation on the windows.
Time to finish the thought about zines and chapbooks this week.
I had never heard about chapbooks until I came across them through Brooks Jensen. Chapbooks have a long history as a way for artists to self publish smaller bodies of work. This seems to mostly have been a way for poets to get their foot in the publishing door and to pave the way for publication of a larger collection.
With the advent of inkjet printers we photographers can get into the game too! I had said previously that for me the real difference between a pamphlet, zine and chapbook is really the production value. With a chapbook being at the top of the heap, requiring more hand work – i.e. sewing of the signature than a zine which I would typically expect to be stapled.
I have included below a flip through of a Brooks Jensen chapbook ‘Worlds Within Worlds’ which I think illustrates the chapbook concept nicely.
I really do like this idea of small handmade books as a way to get my photography out into the world and will be exploring these more in the coming weeks.
I must have been living under a rock to only recently have found Rachael Talibart’s seascape work. She is perhaps best know for her Sirens photos, a series of storm waves named after mythological beings. A book of the same name was published by Triplekite Books in 2018. As an aside I can’t believe I missed this book since I thought I had all of the books that Triplekite had published. I found her work through the recently published book, Tides and Tempests, that further explores her interest in storm waves but also the coast in general.
It sounds like Rachael has had a lifelong relationship with the sea having grown up on the South Coast of England, spending time as a child on the family sailboat. She describes herself as a poor swimmer and a poor sailor who is happier and safer viewing the ocean from the shore. Reading between the lines in the introductory essay to Tides and Tempests it sounds like she had lots of ‘fun’ on the sailboat as a child. These episodes really do shape your life both as an adult and as a child, either pushing you away or drawing you in. Personally I’m glad that she is drawn towards the ocean and chooses to capture the majesty, power and potential that the ocean offers. Check out more of Rachael’s work on her website here.
Also check out the videos that Rachel put together below. Scroll all the way to the bottom to hear Rachel talk about her work and her process.
Check out the mini-documentary/interview with Rachel that Sean Tucker put together below. Sean is worth a ‘Friday Inspiration’ slot of his own. Until then check out his YouTube channel here.
In the spirit of picking up old interests I’ve been making a lot of bread over the last few weeks. Starting with the tried and true recipes in Ken Forkish’s excellent book – Flour, Water, Salt Yeast. The picture from last week was his Overnight Loaf. When I was making this bread regularly it would stick to the cloths in the proofing baskets and generally would be a nightmare for me to deal with. However picking things up again the recipe was easy to follow – no ambiguity – and I had no problem with getting the bread out of the baskets.
With that success under my belt I decided to try the signature loaf in the Poilane book I recently came across. Poilane is of course a marquee name in the bread world. The recipe was a little more involved than others I’d made – requiring a natural yeast starter and also makes a substantially larger single loaf. Going through the planning I realized that I didn’t have a proofing basked large enough nor did I have a Dutch Oven large enough. In all honesty who would? The loaf is ~ 3 times larger than the ‘normal’ home loaf size. I had things that were close enough though so off we went. It was frustrating to not have a good sense of what I was aiming at and I ended up disappointing the in house food critics. Scaling the recipe back gave better results but was still not the wow expected by the local critics.
With a natural starter bubbling in the corner I thought I would try out a final recipe, this time from ‘The Baker’s Year’ by Tara Jensen. When I mixed up the dough it was very wet, a bit tricky to handle and the timings proposed in the margin completely misleading. I should have realized that I would be in for a bumpy ride when the instructions for mixing up the leaven – a foundational recipe for any bread book – were corrected in the form of errata stuck in the front of the book. Oops! Nevertheless I persevered, leveraging the understanding from working through the Forkish recipes many times and also the Tartine bread recipe which is similar. If a dough was going to stick to the cloth in the proofing basket it would be a wet dough like this one – nope, not at all. Came out of the proofing basket nicely, into the cast iron Dutch oven and baked beautifully as you can see at the top of the page.
What if anything you may well ask does this have to do with photography. Well not much if I’m being honest but it did make me think about how I had retained the bread making skills from 3 or 4 years ago. Not only that but some of the things that had been a struggle now seem relatively straight forward. As I re-engage with photography I’m hoping that I will at least have retained a foundational set of skills. It will be interesting to see how the passage of time has changed my thinking and perspective as I get behind the camera more frequently.
While I’m thinking about the subject of photographing close to home I thought I would share a couple of book recommendations.
I’ve talked about photography close to home before – remarkably in 2011, where does the time go. Then I was talking about a recently published eBook by Stuart Sipahgil ‘Close to Home’. Sadly it’s no longer produced by Craft & Vision but you can find it here at least for a little while. Well worth a look.
The other book that I was looking at, and the one that I think of when I think of photography at home, is ‘Home Photography’ by Andrew Sanderson. Andrew is a UK based photographer who found himself tethered to home as he and his wife navigated raising their young family. Picking up on the Home Photography theme again during lockdown in the UK Andrew Stuck at Home Photography. There are lots of ideas in the book (and blog) for how to shoot in and around your home that I will be digging into more deeply in the coming months. I’ll share the results here and also on Instagram. Send me a link to what you’ve been doing while Stuck at Home.
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.
I’m continuing to dig deeper into the work of some of the photographers that were part of the New Topographics exhibition curated by William Jenkins in 1975. These were a group of photographers working to find ‘beauty in the banal’, making ‘photographs of a man-altered landscape’. In many ways it’s easy to dismiss this work as having a ‘snap-shot’ aesthetic and for some of this work I really struggle to connect with it. This week’s project has been Stephen Shore. If you read his biography one of the first things that is pointed out is that he sold his first photographs at age 14 to Alfred Steiglitz and that at 24 was only the second living photographer to have a solo show at the MoMA.
His work in the New Topographics exhibition was in color whereas the other 7 photographers were shooting in black and white. It’s interesting to reflect on the fact that at that time in the early ’70’s shooting in color was not what you did if you wanted to be taken seriously as an artist. Color was okay for magazines but not for ‘art’. Perhaps this further adds to the sense of these photographs being snapshots. In looking over this work and some of the subsequent work that arose out of these early projects I can’t help but think that this would be a great instagram feed and indeed you can find Stephen Shore on Instagram although I was surprised to find that I don’t connect with these photographs in the way that I do with the images in his books.
I often feel like I’m missing the joke when I look at contemporary photography and so it’s been useful for me to listen to Shore talk about his work in the videos below and lift the veil, at least a little.