I’ve enjoyed poking around on Tony Hewitt’s website as part of learning more about the photographers that make up the Ninety Degrees Five collaborative group. Tony is a wedding and portrait photographer although it’s his landscape and fine art work that I’m drawn to. I was curious to see that he isn’t just what I consider a ‘straight shooter’ but is will to add textures to his photographs and really push them to get the feeling he’s looking for in his photographs. I wasn’t expecting that from some of the work that I’d seen of his as part of the ND5 exhibitions but it just goes to show that it’s worth digging in to get a better sense of the breadth of work people are doing. Check out the interview and other videos of Tony below.
When I first saw Hobie Porter‘s work I wasn’t sure what I was looking at – a ‘straight’ photograph, a digital mash-up or what. He is of course a landscape painter, and his work is a juxtaposition of the grand landscape with artifacts that he’s found. Perhaps not surprisingly what caught my attention are his seascapes in which he incorporates old ropes, propellers and a variety of other things that he’s found at the beach. One of the advantages that painters have over photographers is that they are able to paint what ever they imagine and so I had assumed that these beach artifacts were figments of Porter’s imagination. Not so. While there may be an element of interpretation he actually collected these objects for use as reference and then for the exhibition shown in the video below displays them as part of the exhibition. Check out the videos of Porter at work and of him discussing his art below.
Over the past few weeks I’ve been thinking about, and continue to think about, book design. What are the elements of a good photobook? I have lots of photobooks to look at and I continue to work through them identifying the elements that work and don’t seem to work.
I was very interested to hear the discussion that Michael Reichmann had with book designer Arturo Chapa regarding the preparation of Reichmann’s 20 year retrospective book, the proceeds of which will be used to seed the charitable foundation ‘The Luminous Endowment for photographers’.
Chapa has a number of interesting things to say about his philosophy of designing books. The most pertinent for me was his assertion that you shouldn’t see the design. If the book is well designed you just see the images. You don’t see the design, you don’t notice the quality, you just see and remember the images. It’s all in support of the content. Check out the video below for more about how Arturo Chapa thinks about book design and manages the process of getting the book printed to the standard that he demands.
I was poking around on the Phase One website recently (more about that in an upcoming post) when I came across a pair of videos (here and here) of Albert Watson working with a Phase One camera system to make landscape images. I felt as though I knew the name but it wasn’t until video 2 that it dawned on me from where. Albert Watson, as I’m sure you’re well aware, is perhaps best know for his fashion and celebrity portraiture. The photograph that kicked his career into high gear was of Alfred Hitchcock holding a plucked goose and the photograph that I was most familiar with was the photograph of Steve Jobs. It was surprising then for me to see this icon of celebrity portraiture out in the wilds of Scotland taking landscape photographs and a reminder of how important it is to sustain a long a fruitful career to find the things that are out of your everyday, that energize and push you and make the time for these things.
I also found an additional documentary that features Albert Watson’s landscape work that was shown on BBC4. I must admit to scratching my head a little about that one – I can remember when there were only 3 tv channels in the UK and BBC2 was a little out there. The documentary has lots of take aways including: “Always have two assistants, that way if one falls off the mountain you have a spare” more seriously was his way of having a series of words that he uses as an intellectual framework for what he’s trying to achieve with the project. Something that we all can use right now. Check out the documentary below:
I was in Iceland recently, even though my principal reason for being there was not there to take photographs I did have my camera gear with me and managed to get one photograph that I liked.
In thinking about why this worked image worked for me and so many of the others that I’ve taken in recent months have failed, I realized that I brought exactly the same way of thinking to taking the photograph above that I do when I’m shooting at the beach. I set up in the same way, used all the same gear and essentially had the same experience. Minus that is, the panic that my camera is going to get washed away with the next wave. In many ways I’ve been trying too hard. Forcing something that wasn’t working, where as this photograph was taken without thought and was essentially intuitive.
I need to get to that state more often!
I hope that you enjoy listening to Emmet Gowin talk about his life in photography as much as I did! Check out the videos below.
I find that I frequently return the work of photographers that have previously caught my attention. Edward Burtynsky is one such photographer. I had previously highlighted the retrospective of his work called Manufactured Landscapes and was pleased to see that he has recently completed a new project called Water.
One of the things that I am curious to see when I’m looking at new projects from familiar photographers is to see how their process has evolved, if at all. With Water, Burtynsky is no longer considering gravity as a constraint and uses a variety of tools that allow him to get the shot that he’s imagined, regardless of the vantage point. I’m not sure that I would be up for putting a Hasselblad on a model helicopter, especially after seeing Chase Jarvis’s experience, but sometimes you’ve got to do whatever it takes. Click on the link below to see a behind the scenes video of the making of Water.