It was my first time in a gallery space today for four months. What a wonderful feeling! I had to take some installation photographs of my Brexit Lexicon ‘unravelled’ and needed some good floor space (it’s 30 metres long!). The publication is seen here @flowersgallery alongside one of John Keane’s impressive Flat Earth paintings and works by the great Ken Currie. Thanks @stanleyjamespress for the lovely design work on publication. #thebrexitlexicon
3 days ago
Applications for the 2020 Ian Parry Scholarship @ianparryscholar closes Sunday 5th July.⠀
As an alumni of the award - I won in 1997 - I’d highly recommend entering if you’re eligible. The scholarship helped me immeasurably at the beginning of my photography career and I still value the people I’ve met over the years thanks to Ian Parry’s legacy.
Entry is FREE and each winner will receive $3,500 for their chosen projects, equipment from @canonuk, a portfolio review session in London with leading industry professionals and mentoring.⠀
The Scholarship has a history of supporting diversity; @leticiavalverdes (Brazil) won back in 1999 and other alumni include @hebakhamis_ (Egypt), @estascalles (Venezuela), @marceloperezdelcarpio (Bolivia), @tafadzwa_ufumeli (Zimbabwe) & @yuyang_liu_ (China) to name but a few.⠀ ⠀
Fyi, this photograph was taken as part of my winning portfolio. It was a story on the Snowbirds; a term referring to older American folks and retirees who take part in the annual winter migration from the frozen states in the North to the sun-belt states of the South.
11 days ago
These silver gelatin prints are featured in the @flowersgallery ‘Small is Beautiful- Summer Edition’ exhibition, currently online until 12 July (www.flowersgallery.com). They were shot in Yalta on the Black Sea back in 2000/ printed 2015. ——/ Flowers Gallery is pleased to present the first summer edition of Small is Beautiful, which will be held exclusively online and in addition to the 38th annual edition at Flowers Gallery Cork Street later this year. Small is Beautiful was first established in 1974, presenting works by selected artists at a fixed scale, each piece measuring no more than 7 x 9 inches (18 x 23 cm). #russianriviera#smallisbeautiful#yaltasummer#blackseaukraine
16 days ago
Unlike most of Brighton, I’m hiding from the heatwave today. Instead I’m holed up in the studio making some oversized digital negative tests for my cyanotype series, Looking At What Can’t Be Seen. The final work is likely to include some physical presentation of these cloudscape negatives. Brighton, June 2020 #cloudscapes#cloudappreciation#coviddiaries
17 days ago
As Mike Ware comments, the Prussian blue hue of cyanotypes is often associated with the colour of the celestial hemisphere. Because it appears in the sky after the obscuring clouds are dispelled, blue is said to be the ‘colour of truth’. Jung conjectured that: ‘blue, standing for the vertical, means height and depth (the blue sky above, the blue sea below)’. In a religious context, blue symbolizes some of the loftiest sentiments: spiritual devotion, heavenly love and innocence.
Cyanotype test no 8, Brighton, June 2020 | Looking at What Can’t be Seen #cyanotypes#cyanotypephotography#cloudscapes#prussianblue Thanks to @fotospeed for providing all that I need to create these.
23 days ago
“Given the universal scarcity of blue pigment in the natural world, we can understand why the cyanotype might be considered ‘unnatural’. Its low status in photgraphic art, however, still remains somewhat paradoxical when we consider the role of blue in the traditions of painting where it has always been reserved for a noble role.” Mike Ware from his book ‘Cyanotype- The history, science and art of photographic printing in Prussian blue’ (1999) | Cyanotype test no 7, Brighton, June 2020 #cyanotypeprint#prussianblue#cloudscapes
24 days ago
"Blue, darkly, deeply, beautifully blue" Robert Southey (1774-1843) Poet Laureate. Cyanotype test no 6, Brighton, June 2020 | Looking at What Can’t be Seen #cyanotype#prussianblue#cloudscapes.
First cyanotype test for a potential new series. Invented by Sir John Herschel in 1841, this process produces a continuous tone image of Prussian Blue using a sensitizing solution of ferric ammonium citrate and potassium ferricyanide. The cyanotype was one of the first non-silver technologies used to create photographic images. #cloudappreciation
a month ago
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