For the last five and a half years I have been running all night photography workshops in London with my good friend, London Black Cab driver and fellow Light and Land leader Terry Gibbins. These led to me developing a winter version based around monochrome night photography and Victorian London with amazing photographer, workshop leader and another good friend of mine Charlotte Gilliatt. On this workshop we also teamed up with Terry and another cabbie, Bobby Pinto to provide the bespoke luxury transportation around the Capital city at night.
Both of these night workshops have proved to be incredibly popular right from the beginning, so much so that they have been filling from an email shortlist and have not made it on to my website. Currently over 150 people are waiting to go on the workshops, which is a testament to Charlotte, Terry & Bobby and the wonderful locations we cover through the nights. As far as I know, no one else offers an all night workshop in London with bespoke London cab transport from pick up at the station to dropping off in the morning, with a ratio of just four clients to one teacher. Many of those who came on the workshops have won awards and competitions with images that they have taken on the workshops, as well as having them published in magazines and exhibited.
However, five and a half years is a long time. I have done, I think, around a hundred workshops and so, for me, it is time to call it a day and move on to new challenges. But I am delighted the concept is going to continue in the safe hands of Charlotte and Terry. They are also planning new locations too, which is exciting for those of you who have done the workshops before and would like to do them again but fancy something different.
I am going to hand over to Charlotte my email list of all those who are waiting for a place on the workshops so she can keep you up to date with places as they become available (but if you no longer want to hear of dates you can always unsubscribe from her mailing list at any time). I want to thank all of you who have been with me on these workshops. I have really enjoyed my nights with you in the city and the adventures we have had. I know some of you have enjoyed them so much you have been with us three times. I hope you get to go again with the new team to new locations.
I am still going to be running my own workshops, it is just the night workshops that I am pulling out of. I will keep you up to date with all my new plans through Twitter, Facebook, my newsletter (if you subscribe) and here on my blog. If you would like to sign up for the shortlist to hear of new dates for the night workshops, which Charlotte and Terry will be starting again in April and running right through the summer, as well as new dates for the winter ‘Gaslights and Alleyways’ workshops, please go to THIS PAGE on Charlottes website.
It is impossible to visit the Hebrides and not be affected by them at some deeply elemental level. A place of ever changing moods, sculpted and formed by the wind and sea over millennia, it carves itself into your soul. At times the white sands of the beaches, the teal and turquoise of the waves seduce and beguile. In a heartbeat, though, she transforms. The islands can become a place of deep and abiding melancholy, of exhilarating storms which purge and restore. No wonder artists, poets, musicians and now, laterly, photographers, have been drawn again and again to ‘Hyperborea’. This mythical location ‘beyond the north wind’, identified by some as the Isle of Lewis.
‘Hyperborea – The Lands of the North’ is the title given to a group exhibition currently on display on Harris & Lewis, at the An Lanntair arts centre in Stornoway, the capital of the Island. Curated by Alex Boyd, it features the work not only of Alex himself (a photographer working in antique processes, striving to capture the essence of the northern lands, his work in the exhibition is entitled ‘Dark Mountains|Silent Islands’) but also the epic, insightful and truly moving work of landscape and documentary photographer Ragnar Axelsson entitled ‘Faces of the North’ along with a moving collection of images by photographic artist Chris Friel.
His contribution to the exhibition, a project comprised of 49 images entitled ‘After’, is a truly heartfelt and moving response to the loss of his dear son, Joe, who took his own life in early 2016 following a struggle with mental illness. Joe loved the Hebrides and so it was to here that Chris returned to make images in just one day in the place they had shared together. Running in conjunction with the images in Chris’s part of the exhibition is a video of images made by Chris on Lewis in August 2017 entitled ‘Still’ accompanied by a piece of music composed in Joes memory by Matthew Herbert, entitled ‘Be Still’ and recorded at the North Sea Jazz Festival on 9 July 2017. You can see the images and listen to the piece HERE
I had the privilege of printing the 49 images which make up Chris Friel’s ‘After’ collection in the exhibition. To work closely with Chris throughout this creative process was an honour. The images are so personal to Chris and it was essential to me that I did my very best to interpret the work exactly as Chris wanted. To give you an insight of the creative process, of how I work with Chris, how we chose the paper we used for the exhibition (in the end, Fotospeed Platinum Baryta) and also how I prepare the images for print in Lightroom, I have created two short videos. These take you through the process from start to finish and I hope you find them both interesting and that you also might learn a few tips from them too to help you with printing your work.
One positive thing that has come from the awful tragedy of Joes death is the fund set up by Chris and his family through the Just Giving website which is dedicated to Joe and is raising funds for the Young Minds Trust, a very worthwhile cause which aims to help young people struggling with mental illness. The families goal was to raise £16000, a £1000 for every year of Joes life, but at the time of writing in October 2017 the generosity of family and friends has raised a wonderful £44,376. Please visit the web page HERE to see a video created by Chris about Joe and to donate to the charity. You can also see the book Chris created with the images in the exhibition along with his personal images from Joes life. Entitled ‘Joe’, and curated with the help of Joseph Wright, it was a beautiful testament to his son. View it HERE. The book is not available for purchase. You can also vote on the Just Giving site for Joes fundraising page to receive recognition with an award. Please vote for it HERE.
You can see the images for the book ‘Joe’, HERE on Chris’s website. The landscape images from the book were then used as the source by Chris as the basis for the exhibition but he did further work on them and you can view the finished work as collection HERE.
I would like to urge you, if you have any chance at all to visit the exhibition, you will not be disappointed. It is on now and runs until 4th November 2017. You can find full details HERE.
You can buy Chris Friel’s prints through my website from THIS PAGE
If you have your Cloud backup with Crashplan you will have been informed that, while they will honour your subscription to the end of the current period, they won’t be renewing it. They also will have a 60 day grace period where they will hold your data while you get backed up to another provider. This is not good news when you have spent much time uploading potentially terabytes of data to them, but they have made a commercial decision to focus on business customers.
So you need to get your data backed up to a new provider. Who should you choose?
I have done extensive research and I use Backblaze. I have done for some time now. The service has been perfect with no issues whatsoever. The upload speed is blazingly fast (dependant on your broadband speed, obviously) and you get unlimited storage for your data for $5 a month (thats around £3.85 in the UK). I currently have almost 2 TB with them. I have only ever had to pull one file back from them when I had deleted a file in error and my on site back up also had an issue with the same file, and it worked flawlessly and ‘saved my life’.
If you use CLICK HERE to sign up with Backblaze you will get a free months use with them (and so will I, thank you!)
Please feel free to use this link whether you are a Crashplan user or if you have been meaning to get around to backing up to the Cloud but just haven’t done it yet.
I can highly recommend them for their security, speed (no throttling unless you control it at your end), ease of data retrieval and it is so simple to use – just set it up and forget it – it runs in the background and you are always backed up to the cloud.
Remember, every hard drive WILL fail one day – backing up is vital. Just backing up at home is not enough (but make sure you don’t rely on this alone – also have adequate on-site backups too). If you are burgled, flooded or have a fire you will still lose all your data. A cloud backup is the safest solution.
I hope you find this useful.
Some time back I was surprised and humbled to be asked to an interviewee on the excellent ‘Togcast’ podcast which is run by two very capable and nice gentlemen, Sam Gregory and my fellow Light and Land leader, Paul Sanders. (I would highly recommend you use your podcast software on your smart phone to subscribe to the Togcast and listen weekly – it is interesting, entertaining and you get to know many photographers we know from social media so much better.)
So it was a few weeks ago, Sam arrived at my home early one morning on a whistle stop tour of the North. He was cramming in several interviews with other far more worthy photographers than me on a marathon journey up ones side of the country and back down the other. Sam has a very engaging manner and I soon forgot I was being interviewed and we nattered away about photography for a couple of hours. I am very grateful to Sam for taking the time in his busy schedule to come and talk to me and I hope you find our chat interesting.
I have no recollection of what we spoke about and I am horrified to think what I must sound like or what I waffled on about. I am certainly not prepared to listen to myself back again. (After all, I have to listen to myself all the time, and that is quite enough, I can assure you).
He not only did an audio interview for the podcast, but he tried out doing a video session too, where we discussed three portfolios of my images in my Lightroom catalogue and he has released this as a separate video.
So, if you have nothing to do. And I mean absolutely nothing to do, if you have cleaned the oven out, sorted all your carpet tacs into jam jars by size, and organised your photo book collection alphabetically, then you might just want to have a watch and listen. But if you still haven’t got around to creosoting the fence, I would probably get that done first. Really.
Here is the video of our discussion of some of my images
And here is the audio Podcast
There is a (pleasing) trend towards more photographers publishing collections of their work as photobooks. Some are choosing to approach specialist publishers such as Triplekite or Kozu Books. These publishers will work in close partnership with the photographer and use their expertise in desktop publishing and printing to help bring a project to fruition. They may also have access to distribution and sales channels to help the photographer with, what is often the most difficult part of the project, selling the books.
Others prefer to do things on a much smaller scale and self publish using a proprietary platform such as Blurb, Lulu or one of the many others available. These companies often allow ‘print on demand’ so there is no upfront investment in pallets of stock and even if the photographer just wants a handful of copies to sell or give as gifts to family and friends this is relatively affordable. Some of these organisations include electronic versions and allow selling through Amazon and other sales channels. The quality can be good. It can be rather poor, but it may meet the needs of some.
There is now another approach some photographers are taking to make their work available to an appreciative photo-book collecting audience. The hand made (or partially hand made) photo book. These are made in very limited numbers due to the intensive nature of putting them together. They are usually beautifully printed on fine art papers, hand bound and often presented in hand made slip cases. The printing is usually of the very highest quality and as such they become treasured art objects in their own right.
One such example I was very fortunate to add to my collection recently was ‘YŪBI’, a hand made photo-book by husband and wife landscape photographers Denis and Freda Hocking.
Freda came on a workshop I was running with Valda Bailey up in the Lake District and she had bought a copy of the book with her. As soon as I saw it, I knew I had to have a copy. It is unusual, though not unique, for a couple to work together so closely on photographic projects. If you visit the Hockings website (and I recommend you do) you will see they share it. The galleries display work from both of them. The galleries and images do not identify who has made them. This is truly a partnership at work. You will see images of the most wonderful quality throughout the website – and this is echoed in ‘YŪBI’. If you would like to listen to a great interview with Freda and Denis, I can highly recommend this one on the Togcast (I also recommend subscribing to the Togcast for great interviews with photographers on an almost weekly basis).
The book itself is a thing of great beauty. It goes without saying that the images within are stunning. Landscapes made world-wide on the Hockings global travels, that mesh with the meaning of the Japanese word ‘YŪBI’, which is ‘Gentle Beauty’. You will see images which reflect their individual styles (although no images are identified as to who took which – part of the fun is trying to second guess the originator). The whole book has a calmness, a serenity which aptly echoes the link with the principles of Haiku.
The couple had assistance from Eddie Ephraums at Envisage Books. He provided guidance on the format, sequencing, fonts, layout, paper choice, printing, binding and all the other areas where he has great expertise. His guiding hand is very evident in the quality of the book. But knowing Denis and Freda, it is also their incredible attention to detail, their striving for perfection and their intense love for the landscape and photography which completes this book. From the hand stitched Japanese binding (which must have taken many loving hours of work to complete, through to the perfect and beautifully printed slipcase complete with fine Japanese calligraphy (provided with help from the expert Yukiko Ayres) you can see this has been a real labour of love.
The first edition has been produced in just 100 copies, of which just a few remain. I can wholeheartedly recommend that anyone who loves the landscape and collects beautiful photo-books should invest in a copy of YŪBI. I am sure it will become a treasured addition to their collection, as mine has.
Many of us love making images in the square format. We either ‘see’ our photographs that way and compose for them in the field, often aided by the clever way many digital cameras these days allow us to display a square mask on the rear view screen. I love this feature and use it all the time on my Fuji X-Pro 2. Shooting in raw, I still have the option back in the studio to use the entire sensor area, but in the field it is so helpful to see the image on the screen cropped square. It makes composition so much easier. (If you shoot in jpeg, the file will be square and the data beyond the boundaries of the square is lost forever).
I was contacted recently by sleeklens.com who asked me to put one of their plugin packs for Adobe Photoshop through its paces. They make plugins for all types of photography, particularly portraiture and architecture but they also have a pack designed for landscape photographers so it seemed appropriate to give that a try. I opted for the Photoshop version, although they do a Lightroom version of all their plugins too for those who like to keep their workflows just within the Lightroom environment.
Ask any photographer and they will tell you, you can never have enough camera bags. Or it might be that we can never find the perfect camera bag. I’m inclined to think that there is no single one bag that meets all our needs. I have different situations I go into with my camera and need a different bag for each. Recently, I found myself frustrated with a limitation placed upon us by camera bag manufacturers and so turned to a conventional rucksack manufacturer, Glasgow based company Trespass, for the solution.
I am writing this blog to apologise. I am apologising about not replying.
You see, almost eleven years ago, when I started teaching workshops I used to say to my students, “if you have got any questions after the workshop, just drop me an email” and this was fine. I enjoy helping people overcome problems they have with their photography, helping them select the right gear or giving some help on good locations to try, so it was no problem to get a couple of emails a month with questions and to answer them.
I was felt very privileged some months ago when approached by photographer Roj Whitlock to write a foreword for his photo-essay entitled ‘april, may, june and then july’.
I had seen the images and Roj’s moving writing for the project some months earlier, following the death of his father to cancer, Cyril Henry Whitelock, who lived to be 101 years old. Roa had used walks with his camera in local woodlands as an escape, a diversion, as therapy, as solace during the last months of his fathers life. The images reflect the rollercoaster of emotions and feelings of such a time, which any of us who have supported a friend or loved one through cancer (whatever the outcome) will know all too well. His words add a deep poignancy to the photographs.
Before I start writing my review of ‘Fragile’ by Valda Bailey, I need to declare an interest. Valda is a good friend of mine. We teach workshops on alternative photography techniques for Light & Land and so it is very unlikely this review will be entirely unbiased, but I will try my best.
It is with a sense of pride that I opened this book when it arrived in the post from Triplekite Publishing. You see, I first met Valda on the 15th of August 2011. I can be very precise about that because she had booked me for a one to one – to learn about ICM (intentional camera movement) techniques, and in showing her some of those techniques that day I made an image which has become very popular for me – hence my ease of knowing the date, I just have to look at the raw file metadata. So, here we are, almost five years on, and Valda has gone from student of mine to co-workshop leader and has far surpassed me in her abilities with the camera in creating wonderful images. Indeed, here she has had a book published long before I am even considering such a thing.
I have been looking for a more flexible and better priced service than Dropbox for a while. I think I have found it. It is called Sync. They give you 5GB of free cloud storage, which I am currently testing (and if you USE THIS LINK I think you will get an extra GB, so 6GB in total, and I will get 1GB for referring you – https://www.sync.com/?_sync_refer=de5f7b0 )
The paid service gives you 500GB for $49 a year and 2TB for $98 a year, which is very competitive and will allow me to store virtually all of my data, including all of my images on the service.
Every now and then a photo book comes along which is a bit different, a bit special. Today was one of those days. I received my copy of Joseph Wrights ‘Edgelands – The Floods’.
The book is different in several ways. Yes, the images are beautiful, but not in a classic landscape photography way. Joe has chosen o venture into those areas that surround the places we live, the edges and margins of our towns, cities and villages, which most of us tend to ignore or dismiss as ugly, unkempt. The abandoned scrublands, the borderlands or neglect. Some were once used, now left to their own devices. Others are places which have never quite fitted the needs of developers, being the wrong shape, in the wrong place, too wet or perhaps difficult to build on. Nature has no such qualms about these places. Nature quietly gets on with colonising them, plants growing, animals living quiet lives while we rush by.
Joseph has ventured in and started to make sense of the chaos. He has discovered beauty in the confusion and documented this with his 10 x 8 large format camera. Then, he has taken the project in an interesting direction, printing the images at pretty much the same size as his film (8 x 10 inches) for this book. Imagine having a sensor in your camera that is 10 x 8 inches in size. Can you grasp the resolution and detail that would resolve? A 10 x 8 negative has to be seen to be believed and here they produce glorious prints. Joe has then gone on to learn, from none other than grand master John Blakemore, how to sequence the images and hand make them into a book. Joe has individually crafted and bound these books with his own hands. This is truly a craft process. Along the way he has had extensive mentoring from Eddie Ephramus who specialising in helping photographers who want to achieve their creative vision in print and it includes a foreword by Robbie Cowan which is an extract from a work of his based on these ‘edgelands’. The results are stunning.
I invested right at the beginning of the project (Joe ran this as a ‘Kickstarter’ style project to help raise the not inconsiderable funds required), in one of the very limited Collectors Editions, limited to just 30 copies. These came with a signed limited edition print from the project and the book itself enclosed in a beautiful linen covered hand made clam case with another inset image from the project. This inset image is unique to each clam case, so each collectors book becomes a unique item in itself. The collectors editions will never be released again. It is a beautiful thing to own. Seventy copies of the book alone are being made as a standard edition and some of these are still available (I am not sure at this time if any collectors editions are still available – if they are they will be in very short supply). You can read full details and purchase your copy HERE ON JOES WEBSITE.
I think the approach Joe has taken here, making a short run of a hand crafted photo book is a very interesting approach to self publishing. he had the pages produced commercially but hand crafted and assembled the book himself. I like the idea of the book being more of a craft object. It has a nice tactile feel and the hand made element ties in with the analogue approach of large format film photography. It provides another alternative to volume publishing for those looking to get their work before an audience, albeit a smaller one. I am drawn to the intimacy of it, to the deep involvement of the photographer, to the breadth of skills needed. I feel a greater engagement with the artist and the book becomes more of a treasure, an art object rather than being ‘just a book’ (although, never would I want to downplay just how valuable I feel books are). This becomes an object which bridges the gap between a fine wall print or painting and a volume run book. It takes a great investment of time, learning and passion from the photographer (and the team who has supported him) and this shows in the finished artefact. I am a big believer that art must have an artefact.
I have produced a brief video of my Collectors Edition to give you an idea of just how beautiful it is – please take a look.(and please forgive my very amateurish iPhone video skills).
Airlines seem to be making it increasingly difficult for us to travel with our camera gear these days, especially on budget flights. Most of us want to keep our precious cameras and lenses with us in our carry-on bags and yet the size permitted for those bags continues to decrease, as does the amount of weight we are allowed to pack into them.
Its always a good day when a photography book is delivered at home. Today, three were delivered, making it a very good day. Triplekite Publishing have been hard at work producing the first three in what is planned to be an ongoing series of books under the ‘Discovery’ series.
The stated aim of this series from Triplekite is to produce a ‘cohesive representation of landscape photography’. The plan is to release three books a year, identical in size (240 x 240mm) and page count (48), each with 25 plates which, despite being smaller than Triplekite’s other photography books, will still be made to the same exacting production standards. The plan is to release a further three or four books in the series in 2016.
Fotospeed are the only fine art paper company I am aware of who provide us with custom made panoramic papers. I shoot a lot of panoramas in my work, both combining exposures in software (now a feature of Lightroom CC as well as Photoshop, a welcome development) and by cropping into a single image to a ratio which yields an image with the characteristic panoramic ‘letterbox’ format. I am not a lover of really wide angle lenses having grown tired of the distortion they produce. I prefer, when I want to show the wide sweep of the landscape, to reveal it in a panorama. (I know wide angle lenses can be used to inject drama into images, but again, I am finding myself moving towards quieter, less dramatic images in my work and so I have sold on my super wide lenses now due to lack of use.
It’s late. I want to go to bed, but I feel I have to write this blog post. It is based on something that has been niggling at me a lot of late, and then a comment was posted on my Facebook page which finally moved me to write my thoughts down.
I was nominated for one of these ‘Facebook Challenges’ this week – I don’t usually take them up, but in this instance I was asked very nicely by a photographer who I admire a great deal if I minded being nominated and since I had already been nominated by another photographer who I also greatly admire, I guessed it was time to give in. The first post went okay (the ‘challenge involves posting an image a day for five days and nominating other photographers each day to do the same).
In January every year I update the metadata preset in Lightroom which embeds my copyright information into every file I import into my Lightroom catalogue,
This year I thought I would record a brief video to show how it was done, in case you might find it useful. Enjoy!
Today I had a client order for one of Chris Friels prints (the image above) to prepare and thought it would make a good subject for a blog post on hard proofing techniques.
Chris’s images can be very hard to print. He uses strong colours with low contrast and they look best printed on very matt paper. My paper of choice for most of his work is Fotospeeds superb Platinum Etching – a heavy-weight matt paper with a gentle texture which gives landscapes and many other types of images a beautiful feel and ‘presence’. Matt papers do bring with them challenges though. The matt surface reduces the gamut of colours they can display and so it can often take some work to translate what you are seeing on your screen on to the paper, even with a fully colour managed workflow. You can check out Fotospeeds papers on their website HERE – they are a great company to deal with.
I have just returned from a three day trip to North Wales where I was running a workshop in the Snowdonia National Park. Our base was the fabulous Tan-Y-Foel guest house where we were cared for perfectly by owners Chris & Maria. (If you are planning a trip to Snowdonia I can highly recommend staying at Tan-Y-Foel, the location is breathtaking from its elevated position set away from the road in above a beech forested valley with views to the mountains. The rooms, food and service could not be better and being just outside of Betws-y-Coed it is in the perfect place to explore magnificent Snowdonia – have a look at their website, which will be updated in early 2015 – http://www.tyfhotel.co.uk ) Chris and Maria kindly reserved the whole property for us so we had it to ourselves and this meant we could choose breakfast time to fit with our sunrise shoots – perfection!
This post is the result of an interesting and stimulating Twitter debate this week and I felt it needed exploring in more than 140 characters.
The question was raised “do you (or should you) ‘pre-visualise’ your images of a location before you visit?” or something along those lines. This is a big question and I would just like to tackle it from a number of different perspectives.
There is a way for published photographers (and artists, poets and writers) to receive additional income from their work and I thought it might be useful to put a blog post together about it.
In the same way that the Performing Rights Society monitor radio stations, TV broadcasts, public events and music played in public places in order to make sure musicians are compensated when their work us played, there is a similar organisation in place for creatives whose work appears in print.
From the first time I heard that Iains series, The Pool, was to be published by Triplekite, I was excited. I have followed Iains work for a few years now and The Pool series has become a favorite of mine.
I first came across the work on Iains website a year or two ago and was instantly entranced by its delicate beauty and simplicity. Iain is a full time professional photographer working out of Strathpeffer in Scotland. His work is often characterised by its keen observational quality. Iain is a man who walks around with his eyes wide open and seems to see things where many do not.
I first became aware of a man, Paul Kenny, several years ago through an article in, I think, Outdoor Photography magazine. I read about a photographer who was visiting, annually, a small stone sheep pen by a beach on the west coast of Scotland. Here he camped for a week or two each year and photographed this sheep pen. The rocks, the lichen, the patterns, shapes and forms. The enclosure had been built no one really knows how many centuries or millennia previously, the rocks used were beautifully round, smooth and encrusted in lichen which grew painfully slowly over generations of mans existence, populating their own spherical worlds, forming continents and islands of life. I had never come across such devotion and application in a photographer before and he really made a deep impression on me.