pete mcgovern

Unexpectedly blinking away tears and breathing softens seeing this 1976 Baltz image from his Maryland series converted to colour by AI. 

I've a couple of framed offset prints from George Georgiou's impressive 'Americans Parade' book of black and white photographs published in 2019. (Panos website write up here .) It got a fair bit of attention at the time the book was released but I don't remember anyone pondering why they are not in colour. Even raising this now from a distance feels a bit cheeky. When I ordered the prints (such incredible value !) I didn't have the audacity to ask, although it did cross my mind. Much as it also had crossed my mind to write to Lewis Baltz back in the early 80's (I was told he lived in Sausalito, California so if I had put his name and town on an envelope and I reckon it would have got to him), and after starting by letting him know he was ' the bestest ' I could have popped the question (no, not that question). There is no doubt just asking the question, whether it be of Baltz or Georgiou it would undoubtedly be taken as a criticism, questioning the...

Anyone who has visited the Usher Gallery will likely have seen this panel of leaves. I seem to think it's been on display for most of the last 35 years, on the first floor, turn right at the top of the marble stairs, in the small-ish contemporary art room. It's a rare thing in that it's photographic in nature, as well as of  nature, and like most art galleries there's never a lot of space for photography.  As well as clarity of idea the whole endeavour of the making was done with a high level of care. Overall it's pleasing, accessible. That aside it was not a type of picture making or subject in any way similar to whatever I was doing or how I was doing it, at the time, or at  any time. (But not as if I was actually doing anything for a fair bit of that time, although the last twenty years have shown a more concerted effort). Over the last month I've been reviewing hard drives of images from 2019 to the present and folders of hedge photos crop up every autumn....

This tree, belonging to no-one, is tucked away behind a village up a mile out of town. Only when stumbling upon it you see that it is precariously perched on the edge of a steep hill-drop just beyond, with flat, lavender tinted fields stretching away below.  A twisted form full of forgotten storms and carrying the weight of many tiny birds that fling themselves out over the plain when I softly roll up

A photogr aph of Annie Philpot, a neighbour, and described by Cameron as ' My first success. This Photograph was taken by me at 1 p.m. Friday Jan. 29th. Printed—Toned—fixed and framed all by me & given as it is now by 8 p.m. this same day .' In 1873 Cameron and her husband (age 81) left Freshwater for Ceylon with ' a cow, Cameron's photographic equipment, and two coffins, in case such items should not be available in the East '. Collectordaily review here .

Another Place zines

Runner up in the 2025 Deutsche Börse; Tarrah Krajnak (born, Peru) is shortlisted for the exhibition “Shadowings. A Catalogue of Attitudes for Estranged Daughters” at Huis Marseille, Amsterdam (28 October 2023 – 3 March 2024). The Peruvian-American artist bends time and blurs the lines between staged self-portraiture and performance, self and other, fact and fiction. The nominated exhibition brings together her most important work spanning twenty years. Krajnak consistently uses the camera as a research tool and takes a conceptual approach to the rematerialisation of photography. Krajnak is deeply invested in the craft and processes of photography. She continues to print all of her own photographs, using methods including pigment prints from colour film, silver gelatin prints, cyanotypes and anthotypes (images made using plant-based light-sensitive materials).  Krajnak’s own body appears often, and her production sites move between the studio, fieldwork and darkroom. Krajnak turns h...