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Showing posts from September, 2017

Sergio Larrain: Fishermen's daughters in the village of Los Horcones, Chile, 1956

From a profile of David Hurn


David George: The Broken Pastoral

David George's urban nightscapes show private view this evening, 28th September 2017, @ Sid Motion Gallery, and runs through till 17th November.


BBC NFL sports debate

American footballer Colin Kaepernick's race protest was one of the landmark moments in modern American history. While his career was wrecked others have now taken up the struggle. The battle lines are now being drawn with a hostile Trump administration after the previous stand-off with an indifferent Obama one.


Ralph Eugene Meatyard, (1925–1972)

artsinspiration link


Aneta Bartos: Red, (4 Sale series)

Aneta Bartos: Chicken, 2016

collectordaily review
'Family Portrait' at Postmasters


#3

Something I learned from the Trent Polytechnic photo course is that you have to go back. Doing one shoot somewhere and thinking your done is not enough. Ego, laziness, maybe a bit of neurotic anxiety, all excuses. Admittedly it is a pain. So, despite feeling very fed up at the prospect. I went back to site D this afternoon, more than half hoping I'd accidentally drop the mirror en route, which was precariously tied with a bit of string slung over my shoulder while riding my bicycle.

My original intention had been to wait for blue skies but cloudy white ones have worked out better, filling out the frame as an area of white paper. So it was a good day for more white surrounds, and the rain held off today, just spots. Yesterday it had been chucking it down on and off and at times had been torrential. I'd spent 45 mins pressed into a loading bay concertina doorway in a futile attempt to find shelter for the camera, mirror and me, (in that order).  The kit had stayed relatively dr…

Post-industrial landscapes #2

Holding the mirror.


Post-industrial landscapes #1

André França, from the series Vanishing

via Saint Lucy website




Elinor Carucci, Mother puts on my lipstick, 1993, from Closer

Came across an interview with Elinor Carucci, via a treasure trove of photography links on the Saint Lucy website.




on and over the ground

I mostly forget an essential fact about the photography I do at the same places, going back over and over; once I arrive I usually wonder 'why am I even coming back, there's nothing here?'. It's a bit deflating. And every time from that complete nothingness I start.

The strip of land I went to last weekend, which may become possibly site d, has some appeal, but I'm not sure I've identified what that is or how to make something of it. I want to find a way in, which is harder than being able to get in, which is currently easy, through a torn down fence.

The use of mirrors in landscape photography is not uncommon, and almost always an appalling misjudgment.  Actually not 'almost always', just always. So it was strange to find myself pondering this evening how feasible it might be to take a mirror along with me next time (if there is a next time) to site d (or what may be site d, if I stick with it.)

The ground was the most interesting thing last weekend.…

Toxicity

Many centuries ago when I was a second year photography student I used to take photos at Colwick and Netherfield, industrial areas east of Nottingham. One tract particularly appealed - a large expanse of seemingly abandoned or un-owned, detritus-strewn land, bordered by refineries and open railway lines.

The particular stretch of ground I visited today is bordered by disused industrial buildings, a scrap-metal yard and railway lines hidden behind the trees. As before, there never seems to be anyone around.

Oddly the same yellowy haze I remember previously (at least from the colour negatives/contact sheets which may have been poorly processed) permates the files taken today. It's as if in these environments the air is slightly contaminated by seepage from a worn-out, brittle earth.



site d

There's a piece of post-industrial land not so far away that has been promoted for re-development by the local authority. It sits alongside a massive 30m high former manufacturing building which is starting to fall into decreptitude (much like myself, then). The land is poor quality but is slowly being filled with a surprisingly diverse range of early-settler plants. The light was terrible this afternoon, an overcast English September day, but I loaded a couple of cameras and went for a look anyway, aware that a piece of nondescript flat land with no features apart from the background line of trees wasn't going to offer much even on a good day.

If this land does get developed these preliminary pictures would note the starting point.



(uncredited image, from local news website)

Old industrial landscapes in Lincoln, England

Thinking of Lewis Baltz

Thinking of John Divola

hedgerows: line

hedgerows: leaves and grasses

hedgerows: clouds

hedgerows: nettles

English hedgerows at the end of summer

موقع المراقبة site of surveillance I thought after last year I wouldn't be going back to take any more photographs of these hedgerows but the eye-watering beautifulness of the pale blue September sky (which soon clouded over) overcame my laziness and fearfulness. Home after three and a half hours, 400 photos, not questioned/detained and only fleeing birds, skinny little rabbits and the occasional fly on my arm for company. Now I'm fat, full of greasy chips, mushy peas, cups of tea.  Been listening to Glass Animals 'Youth' live version from Reading festival last weekend, on repeat. The neighbours are gonna kill me soon.
Listen here, 27 minutes in, on the BBC iplayer  (available until October 2017)