New England, IBM and the Architecture of I.M.Pei

A trip to New York a couple of weeks ago brought surprises on many different levels. Firstly a reunion with an old school friend I had not seen for forty years, secondly a night in a hotel that put Alan Partridge to shame and thirdly a close up look at the architecture of I.M. Pei in the shape(s) of the IBM site at Somers NY.

To begin at the beginning, as regular readers will have realised, I’m on something of a world tour, beginning last October I’ve visited China, India (twice), France, Spain (three times), and now America. Some of this has been work; I’m involved in Communications Skills training with IBM and have been delivering a course to members of the IBM Academy, the future technical leaders of the company. The trip to New York came hard on the heels of a trip to India and my rudimentary preparation involved using the IBM chosen travel agent to book my hotel, car and flights.

Arriving in New York, I headed straight for the Hertz desk to collect my car, only to discover there was no sat nav available. A couple of minutes of negotiation secured an upgrade to a premium class, 4 wheel drive, fully automatic Mercedes in glistening white, with Sat Nav installed. I’d never driven an automatic before and more to the point, never driven in NYC before. Unwitting, I set off to recreate my very own “Bonfire of the Vanities”. Leaving JFK, I quickly became lost and hurtled into the Bronx, a neighbourhood of legendary delinquency. Cruising the streets of this neighbourhood proved disappointingly normal – no angry mobs gathered to torch my vehicle, no gunfights were observed and there was not a siren to be heard. I used the opportunity merely to familiarise myself with the sat nav and the automatic transmission and very soon found my way back onto the highway.

Seventy miles north of New York City is a place called Somers, a tiny New England town, that hosts one of IBM’s many office complexes and research labs. The buildings appear from the highway to float amongst the trees, and it was not until the next day that I was able to get close to this self advertised “futuristic fortress”.

First I was to navigate to Dansbury, Connecticut where my hotel was situated. I’d chosen the hotel on the basis of being out in the woods and towns of New England which I was keen to photograph, yet close enough to commute to Somers where I was going to be working.

Inevitably, nothing went according to plan. I arrived at the Hotel to find a JCB digging up the car park and inside, a fine layer of plaster dust covering the dust sheets that were draped over every stick of furniture in reception. Something told me this was not going to be a long stay. I checked in and made my way to my room, which featured a microwave cooker, a coffee machine with no coffee to be seen and a view right onto the building site behind the hotel. Alan Partridge would have been ecstatic, I was exhausted and unimpressed. I decided to post a satirical rant on Facebook and turn in for the night. Five minutes after posting I got a message from my old school friend Dana Wiehl, who, it turned out, lived only ten miles from Dansbury in a house with a spare room! The power of social media knows no bounds. I moved to Bridgewater and stayed the rest of the week. Wonderful to find out about old friends and to catch up after so long.

The next morning, I set off for Somers and the IBM complex. I’d seen the buildings from the road, but close up they are astounding. Like a scene from a science fiction movie, this site is nothing less than inspirational. There are four buildings in a 730 acre estate, each building is triangular and topped with a glass pyramid. Arriving early in the morning, there was not a human being to be seen, and I was able to roam the estate photographing the buildings from a variety of angles. Extraordinary architecture, designed by I. M. Pei. To my untrained eye this is the finest example of modernist architecture I’ve seen. An absolute joy to be around. I was fortunate to get the most fantastic light, which really shows these buildings off to their best.

Inside, with the exception of the glass pyramid the buildings are disappointingly corporate, but I suppose reality has to impact at some point. I’ve never looked forward so much to going to work as I did at this location, and that is in large part down to the vision of the architect and the boldness of the commission. Hats off to all concerned. The course I should say was also a pleasure. A great bunch of people (as they have been all over the world) and an experience perhaps summarised best by the feedback from one of the attendees, delivered in that inimitable New York style: “A life changing experience, but hey..we’ve gotta get you a new hairdresser!”

The collection of pictures from IBM Somers can be viewed here: http://electricalimage.com/galleries/architecture/

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Road Trip to Mysore

MysoreI didn’t get the chance to take photographs the last time I visited Bangalore. My mistake. This time I set aside time to get outside of the IT capital of India and explore the countryside.

I booked a car for the day and at 7am set off for Mysore with the intention of taking in the bird sanctuary at Ranganathittu, the Sultan’s palace at Mysore and the Chamundi Hills from which the view of the plains is utterly breathtaking.

Needless to say, virtually nothing went according to plan. The drive, 90 miles or so to Mysore was tortuous, however once we got to the bird sanctuary, things took a sharp turn for the better. As ever in India, there was a fee to pay at the gate, followed by a further negotiation with the owner of a small rowing boat, which seemed like a better way to go than the tourist boats that chug remorselessly around the reserve, frightening the wildlife.

Once in the boat, we seemed perilously close to the water and when the owner produced a pair of oars that might have been designed by Heath Robinson, I wondered just how much of the lake we would see. I needn’t have worried. Applying himself manfully to the oars, we shot across the water, virtually silently and I was able to get close enough to the wildlife to take decent photographs. Now I’ve never been a wildlife photographer, but I’d anticipated that exposure was going to be a problem with so much water and such a clear day. I set up the camera to warn of any overexposed areas in playback, so I was quick to realise that even using Aperture Priority, the camera was getting it wrong to the tune of 2 stops. Once I’d added exposure composition to the mix (-2), I got some excellent shots, at least for a beginner!

Crocodile!

Taking pictures of Pelicans and so on was fascinating, but when I glanced across at the guide, I was startled to see the look of a man who had just seen a ghost. I followed his gaze and to my surprise, found myself staring at a very large and very bad tempered crocodile, making straight for the boat. At speed. The animal must have been at least ten foot long, possibly more and it was clear that our best interests were not uppermost in its mind! All hands to the oars and thankfully, we began to pull away from the animal. Eventually it gave up the chase and turned disdainfully away, gradually sinking under the water. We saw at least a dozen crocodiles that morning, but none of them as big and none at quite such close quarters.

Once the excitement of the bird sanctuary had subsided we took off for Mysore. The home of the Tippu Sultan, the Tiger of Mysore and implacable opponent of the East India Company. I visited the summer palace which was spectacularly decorated and featured period prints by British military artists depicting the four Anglo-Mysore wars. He died in battle, during the fourth war, defending the fort of Srirangapatna.

The Sultan's Palace, Mysore

The Sultan’s Palace, Mysore

The next stop was the Maharajah’s Palace at Mysore. Still occupied, this was beyond spectacular. Every religious festival, the palace is illuminated at 7pm. I got there around 6pm and took photographs from various vantage points and then realised I was simply recreating the popular postcard views. Searching for a better, or at least less overexposed angle, I slipped through the crowd barriers and gained access to the side, just before the lights were switched on. Basically, as you can see form the photograph, this place can probably be seen from space!

Back to Bangalore, after 15 hours and 350 photographs, the next morning I decided to try and catch some of the life of the city and arranged with my driver to be dropped off at the City Market.

The City Market is home to a Mosque and is a tumultuous melting pot of humanity, beggars, travellers, merchants, it is a real bustling street market and I was glad that I went. Cattle roamed nonchalantly through the crowds as ignored as the beggars, of which there were many.

City Market, Bangalore

City Market, Bangalore

I’m pretty sure I was the only anglo in the market that day and felt quite conspicuous with my camera. I’d set it on aperture priority – the hustle was so intense, there was no way I’d have time to fiddle with settings and it turned out to be a good decision, but perhaps not as good as if I’d set it on fully automatic.  I’m used to setting up my shots very deliberately but that was never going to work here.

I realised I was going to attract a lot of attention if I lingered for long in the same spot, so I had to simply walk through the market, firing off shots and hoping for the best. Mixed results it’s fair to say. I used a wide aperture as there was a lot of shadow, but my depth of field was too narrow and as a result I ‘lost’ a good many potentially usable shots. A narrower aperture to mitigate against loss of focus might have done the trick. As it was, several shots were soft in crtitical areas which was disappointing but I guess that’s the attraction of street photography. It’s not a perfect art and the frustration at realising a good scene has been ineffectively recorded is part of the learning.

Ugadi Festival

Ugadi Festival

My visit to India coincided with the Ugadi Festival, so not for the first time I felt very privileged to be able to take photographs. Ugadi Festival is basically New Years Day, I anticipated huge crowds, but actually that wasn’t the case at all. People were very friendly and mostly just ignored me and my camera. The one place I did attract attention was at the Maharajah’s Palace, but that was from other photographers who wanted to understand what I was doing using LiveView to get focus.

Using LiveView is something I’ve grown accustomed to in landscape photography and especially at the Palace it was the only way to go – selective magnification allowed me set focus exactly where I needed it to be i.e., where it makes sense in the final image. It was invaluable in helping to get the crispest possible focus here, as the lights were so intense and I needed pick out some fine details in the Palace exterior.

The photographs will appear in due course in the India section of the Landscape & Travel section of the site. In the meantime, I’m packing for New York. It never rains…

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Nik Collection by Google

I was a little surprised when Google announced a month or so ago that they had acquired Nik Software, the company that brought us the excellent Silver Efex Pro and HDR Efex Pro photo editing software.

The acquisition made sense on the level that Google had already acquired Piknik the on line editing suite aimed at entry level photographers and that Google + has been more enthusiastically taken up by photographers than perhaps any other sector, but I’m sure I was not alone in fearing for the future of the earthbound applications.

Given the general feeling of trepidation, the announcement last week that Google were making the entire suite available for $149 took everyone by surprise – and the news that they would upgrade existing customers at no cost was as welcome as it was surprising. A couple of forums reported problems with downloads and support for installation, so I waited until yesterday before e-mailing Nik Customer support to see if I was eligible. They responded within minutes, to my surprise and after I had supplied the license key for my installed version of Silver Efex Pro sent me the download link within about five minutes.

The software installs on top of existing Nik software, no complicated uninstalling required and I carried out some preliminary experiments to check that it was all working. Installed easily and seems to work just as well as it always did.

Well done to Google for this – I’d already bought Silver Efex Pro and HDR Efex Pro, now I have Color Efex Pro, Sharpener, DFine and Viveza at no extra cost. Color Efex Pro consists of a set of pre-defined adjustable filters for colour enhancement, Sharpener does what it says on the tin, very effectivley. DFine is a very effective noise reduction application that allows you to choose which areas to reduce noise in. Viveza is the flagship editing application allowing the user to control contrast, luminosity, brightness, saturation etc.

I’ll be using Sharpener and Dfine, probably more than the other extra applications, but there is something here for everyone and at this price point, it represents excellent value for money.

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Ten Days in Andalusia

Ten days in Andalusia, combining house hunting with photography. This time we more or less got the balance right and the photographs can be seen here and of the house hunting, more will be revealed later. Big plans. Suffice to say, third time lucky? I hope so!

We started the trip at Malaga airport where our hire car turned out to be a tiny Fiat 500, bright red with gorgeous retro styling inside. No problem finding that vehicle in a crowded car park!

The first leg of the trip was to Alhama de Granada where we stayed at the Hotel la Seguiriya, run by retired flamenco singer Paco Moyano. A lovely old townhouse with views over the gorge, a very welcoming host and the most beautiful, unspoiled town in Granada. The town dates from pre Roman times and boasts a hot spring within walking distance of the old town and an original Hamam a short drive away. The Hamam can also be accessed via a mile and a half walk through the most spectacular gorge, featuring a disused mill and an ancient hermitage carved into the cliff side. The old town boasts many outstanding tapas bars including one where they heat the place by shovelling burning coals underneath the tables in the bar!

From Alhama, we drove to Granada where we stayed at the Almunia del Valle, high up above the town in Monachil, where we ate the most amazing meal of the trip. The next day we anxiously checked weather forecasts in preparation for a drive across the Sierra Nevada to Mairena. The forecasts were good and the road was open so we set off, the Fiat groaning a bit at the hills, but reasonably confident of a fair crossing. This confidence dwindled dramatically as we got higher and the weather got worse. We saw by turn, rain, sleet, snow and impenetrable clouds before we got to the top and began the more gentle descent into Mairena. Only after we arrived did we discover a text from our hosts, Emma and David advising us not to attempt the drive as temperatures were plummeting and the steep roads become icy and very dangerous!

Sunset in Mairena

Sunset in Mairena

Emma and David run the Casa Rural las Chimeneas, an organic farm with several Casitas for the guests. They host yoga and walking holidays and author Chris Stewart of “Walking over Lemons” fame hosts a writing workshop there every summer. A delicious dinner was served in their restaurant and we got a personal guided tour not only of their farm, but of the olive press that gives them their olive oil and is run as a co-op to service the needs of the local community. Fabulous views from the village and some excellent walks available for every type of walker. Emma and David are very passionate about the community they live in and as a result enjoy the respect of the locals. The trend in the mountain villages has been downwards for years now, but the recession is beginning to drive younger folk back to their parents, bringing with them new, modern ideas about farming, so we may yet see some regeneration of these beautiful places. One idea that is not so popular is the trend for industrial scale greenhouses where vegetables are grown hydroponically, producing vast quantities of tasteless, chemical infused produce that undercuts the local farmers.

Olive in Andalusia

We travelled West after this part of the journey to Orgiva, a town that nestles in the fertile low Alpajurras, providing a gateway to the mountain villages and Granada from the South. Orgiva is a bustling working town with a large english ex-pat community. It has outstanding landscapes, to both North and South and appears to have its own ecosystem – the weather here was the equivalent of August in the UK!

From Orgiva we travelled back to Alhama de Granada for another look at the Arab Quarter, where I discovered the story of Elena de Cespedes, born a woman in the 15th century and later in life declared a man, married as a man and eventually tried and sentenced to 200 lashes and ten years working as a nurse in a prison hospital for the crimes of witchcraft, heresy and apostasy. Every year there is a cross dressing festival in her memory.

This was the last stop of the tour, we drove to Malaga and a flight home. I’d recommend any and all of these places as holiday destinations, we had a truly wonderful break where we met some delightful people who we will definitely be seeing again.

Pictures can be found in the Gallery under Landscape & Travel / Spain. Or click here!

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McCullin

McCullin the man is a real, live, photographic legend, best known for portraits of war. McCullin the film is a documentary that presents the man and his work and so doing attempts to throw some light on the shaping of a photographer whose images can credibly claim to have altered the thinking of a generation. Don McCullin brought the stories of the real victims of war onto the front pages in graphic and unflinching detail.

By its very nature, this is a disturbing film. McCullin has survived in more war zones than could possibly be considered healthy and the pictures he brought back graphically expose the madness, the savagery and the undiluted greed of the exponents. There are a number of very disturbing themes running through this film – not least the one that suggests we’re never that far away from a war, there’s always one just around the corner. We’d like to think that’s no longer true, but Iraq and Afghanistan suggest powerfully that nothing has changed.

McCullin the man comes across as articulate, erudite, modest and thoughtful. A man of profound integrity who his editor, Harold Evans memorably describes as “a conscience with a camera”. What separates him from other war photographers appears to be a combination of two things – a mastery of composition and anticipation verging on genius and a level of empathy that was never truly crushed by his experiences. That in itself is remarkable when you consider he shared those experiences with men whose psyches were damaged permanently by those same visions.

The film covers the early years and the viewer gets a real glimpse of a man for whom doors opened in a sequence that propelled him into some of the most horrific and hellish experiences the human race has to offer. Where others took their shots and fled, McCullin exploited the opportunities and became by his own admission something of a “War Junkie”. Extracts from the Parkinson show in the seventies, are fascinating, displaying a man grappling with his reality, with reconciling those things he has seen and done with celebrity and normal life.

It does not surprise me that in his later years, McCullin has devoted himself to landscape photography, documenting his Somerset home in his book “Open Skies”. That they are Monochromes possessed of a brooding sense of impermanence seems inevitable. He talks of fearing that England is dying every time he hears the buzz of a developer’s saw or the crack of a sportsman’s gun. It seems as though he has come full circle, seen the horror of man at war and made the connection with the havoc we wreak in our own backyard.

I left the cinema feeling very humble. Not just because my own photography seems so trivial in comparison, but because here is a man who perhaps more than anyone else on the planet is the living embodiment of the Rutger Hauer monologue from Ridley Scott’s Bladerunner “I’ve seen things you people wouldn’t believe…”

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Canon EF Mk III 1.4x Lens Extender

Canon EF Mk III 1.4x Lens Extender

Canon EF Mk III 1.4x Lens Extender

The notion that what is in effect a second lens, inserted between the real lens and the camera, will not detract from image quality is counter intuitive to the point where I have never seriously considered using one of these devices to extend the reach of my lens.

The lens extender is not the same thing as the extension tube that we use to magnify small objects for macro photography. Both devices maintain the electronic link between lens and camera, but the extension tube has no glass, it achieves the required magnification simply by moving the lens away from the sensor.

The Lens Extender is designed to work with Canon L series lenses and is in effect a second lens. The reason I became interested was that during the course of a landscape photography workshop I was unable to get the framing I wanted, even at the maximum zoom length of my lens. A quarter of a mile walk may have done the trick, but I would then be shooting from a completely different angle. So longer lens? Or Lens Extender? The lens extender costs approximately 30% of the price of a longer lens. That sharpened my attention.

Waterloo Street

70-200mm With Lens Extender

So what’s the pay off? The lens extender loses you a full stop in maximum Aperture, so the f4 becomes an f5.6. This shouldn’t be an issue for landscape photographers who will tend to want back to front sharpness and will often opt for the lenses comfort zone – around f11. I tried some test shots with the 70-200mm lens. I discovered that autofocus was struggling, but that’s not a major issue, I tend to use manual anyway with landscape photography. There appeared to be some chromatic aberration introduced around high contrast edges, but nothing that couldn’t be addressed in post. In the viewfinder, I thought there was some vignetting, but that disappeared when I imported the images into Lightroom. As for sharpness, this is a crop from a larger photograph shot at a distance of 150 metres. At full magnification you can see the detail of the seagull sitting on the chimney. Its as sharp as it probably needs to be!

The outcome? The downside is that it is more fiddly to put on the lens extender, then the lens than it is to just swap lenses. Again that is unlikely to matter much to a landscape photographer. Some aberration is introduced, but a very small amount. I would expect considerably more actually since we’re introducing a whole extra layer of light processing before it gets anywhere near the sensor! I guess the verdict is that this is a useful tool for landscape photographers. It is not the same as having a longer lens, but it is cheaper and lighter and both of those things count.

I’ll be adding one of these to my kit. In terms of lightness, that alone earns it a place. Last year I visited China, India and Spain. And in China, I really regretted not taking a longer lens. This year I’ve already been to Spain once and have trips to India and France planned already. I don’t have the room or the strength to carry a flotilla of lenses around so until I actually invest in that longer lens, this useful piece of kit will do a good job and save my aching back!

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A Week in Barcelona

Photographing Barcelona is a tall order, particularly if time is limited and daylight is mostly spent inside one of the most brutal conference centres I’ve ever had the misfortune to visit.

I haven’t really scratched the surface with this collection, but it has convinced me to go back and keep going back until I know the city well enough. My impressions are many and varied, there is architecture ranging from the extraordinary Sagrada Familia, designed by Antoni Gaudi, a gothic modernist masterpiece that for my money ranks as one of the most spectacular buildings I’ve ever seen. There is the brutalist modernity of the university district, typified by the hotel I stayed in, Hotel Rey Juan Carlos I. Be aware that this is primarily a conference hotel and looks and behaves like one. Impersonal, spectacular and brutal. Consumed one of the most disgusting hamburgers I’ve ever eaten and one of the nicest omelettes. Go figure.

The first evening was probably the best from the photographic perspective. I had decided to only take the Canon G1 X on the trip, a decision I didn’t regret since it is light and inconspicuous. I hightailed it to the Ramblas, Barcelona’s equivalent of Piccadilly, a street that is essentially pedestrian, lined with shops, bars and cafes, where people stroll, photographers photograph and life just carries on. The prices are high, but off the main drag, there are lots of cheaper, more friendly places to linger.

The harbour is well worth visiting. Avoid the shopping centre style area and head for the older parts which in January are much quieter and more interesting. I finally broke free of my conference on the Friday and headed downtown to photograph the Gaudi Cathedral. It is as wonderful as it is famous, but four blocks to the north east there is the Hospital de la Santa Creu i de Sant Pau – a fabulous building designed by another of the Catalan modernists, Lluis Domenech i Montanet. Not quite as breathtaking as Sagrada Familia, but definitely in the same league. It is being restored at the moment and the site is inaccessible, but can still be viewed from the road and well worth the 15 minute walk to get there.

The whole collection of photographs from Barcelona can be viewed here. (http://electricalimage.com/galleries/travel/spain/barcelona/)

 

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Paul Strand – Tir A’Mhurain: The Outer Hebrides

Paul Strand was an American photographer and film maker whose work I was only vaguely familiar with, as one of a number of modernist photographers who helped establish the form in the United States during the mid 20th Century. That was before I discovered this book and the fascinating story behind it.

Strand was a Marxist connected to, though apparently never a member of, the Communist Party and through his work with a company called Frontier Films fell foul of the McCarthy regime and found himself branded as “un-american” and “subversive”. Never a man to shirk a fight, his response was to insist on having his work printed in Eastern Germany on the pretext that the print process could only be found in the Eastern Bloc.

He arrived in Scotland, with the FBI in close attendance, at the same time as the American military began surveying the island of South Uist in the Hebrides to see if it were suitable to host a long range missile site. That the project should yield one of the definitive documents of the Hebridean way of life and perhaps the definitive work of Scottish photography is extraordinary under the circumstances.

Written in collaboration with Basil Davidson, the book contains a set of monochrome photographs that span portraiture, landscape and documentary in the main, supplemented with textures of stone and sky, thatched roofs and reeds. As an impression of that bleak landscape, I’ve never seen better, indeed never seen anything even approaching this standard.

Although the book is a political project it is not overtly political. It tells a story, the story of the islanders, of their values and relationship with the land and the sea, with work and the weather. In so doing, Strand asserts that the islanders are and continue to be a viable community, not to be ruthlessly ignored and exploited for political gain.

I love this book, both for the writing and the photography. It is an extraordinary achievement for an outsider to capture so accurately the soul of a community, but capture it he did. He tells the story of these islands in the hope that they might be left alone. In fact, the book was immediately banned in the USA and the rocket ranges are still there, under the management of corporations supplying the defence industry.

In somewhat prescient fashion, the book ends with the following quote: “A comic mythology sometimes found elsewhere has liked to paint the Hebrideans as pawky spongers on the governmental purse, preferring charity to fending for themselves…” Sound familiar?

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William Klein & Daido Moriyama at the Tate Modern

I’ve seen this exhibition three times now and that still doesn’t seem enough. My reactions could be measured on a scale of reflection from “Wow!” to “Now I remember why I went to film school!”.

William Klein, for the benefit of those who don’t know, is an American photographer/writer/film maker based in Paris, whose utilisation of mixed media to provide an almost visceral energy to his work seems as electric today as it did in the 1980′s when it was also pretty revolutionary.

Daido Moriyama is a Japanese photographer whose prolific and edgy photography accelerated the growth of the form in Japan and propelled him to worldwide renown on the back of a staggering body of published work initially recording impressions of Tokyo and latterly New York.

Combining these two in one exhibition is a masterstroke of curation. At a high level, both artists seek to provide an impression of location; in the case of New York to convey the mad energy typified by swirling crowds and endless neon. They do it in very different ways. Klein controls his medium, rephotographing contact sheets, vandalised with paints; Moriyama takes an opposite approach, photographing endlessly, creating a cumulative almost voyeuristic view of the city. At times the two approaches crossover, Klein photographed Tokyo, Moriyama New York and its fascinating to see the extent to which these two different artists ran parallel.

The other striking element of the exhibition is the extent to which both photographers push the envelope of the medium. Moriyama in his “Farewell Photography” pushes the image through extremes of focus, contrast and grain to almost unrecognisable abstraction. Klein’s manipulation of the multiple media he employs, similarly breaks out of the mould, manipulation of focus, framing and depth of field alone is striking enough, to add other media into the mix takes his work to a place where the impression is everything.

The vitality of the work on exhibition here is astonishing and energising. When I say I remember why I went to film school, I’m not being flippant. I lived in London for thirty years and lost the ability to see it. Its one of the reasons I left. These two artists succeed in what I consider to be the test that differentiates art from craft. You leave this exhibition with your perceptions altered, a different person. It is that good.

The exhibition closes in three days time, one last visit then…

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365 Day Project

Gold Buddah - Wooden Carving with Photoshop textures

Gold Buddah

At risk of making myself a hostage to fortune I’ve decided to embark on a 365 day photographic project. There is no theme, simply a requirement to take and publish one photograph every day until next January 1st. Having succesfully navigated week 1, I’m optimistic!

There are a few things making themselves obvious even at this early stage. Firstly, this is a wonderful opportunity where time allows, to step outside of my comfort zone and experiment with different approaches that I might not normally try. Who knows where that might lead?

Secondly, I budgeted one hour a day minimally to get the shot and publish. This in itself is a challenge, but one that will fit in with my working life. I’ve found the discipline energising so far and I’m taking a lot more photographs as a result.

Thirdly, in restricting the time I allocate to taking photographs I’m forcing myself to work with what I have. If that’s an iPhone, then that’s what I will shoot with and publish. So far I’m favouring a Canon G1 X on the basis its easy to carry around and therefore I can take advantage of down time during the day to snatch a few shots. Of course the choice of camera imposes a few more restrictions because of the lens – it’s wide (15 mm) and therefore encourages a particular style of shooting, especially where architecture is involved!

The key to preserving (or at least attempting to preserve) quality in a 365 day project appears to lie in not blowing all the best ideas in week 1. I generally shoot at least one day a week, mainly landscape and architecture and I’ll continue to do that, however the other six days will include some experimental photography, abstracts, still lives and also technology that I have not really embraced because of a perceived lack of time. So in Week 1 there are two photographs that are clearly experimental and five that I would probably have taken in any case, over a longer period of time.

So far, I’ve found myself experimenting with abstracts (not particularly successfully) and learning how to manage textures in photoshop (better!). Like a guitarist changing hands I’m discovering that I progressed a lot last year but there is a lot more and a lot further to go.

You can find my 365 day project at BlipPhoto - http://www.blipfoto.com/ElectricalImage, some of the photographs will make their way here, some won’t. I’m hoping this project will open new doors creatively, also hoping I finish it!

 

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