August 2010 Archives

Boat, Suffolk coast.
  I was attracted by the boat sitting on top of the beach with the sky behind it and no visible sea plus the side lighting has made the boat stand out from the sky.

5x4 camera with 150mm lens. Ilford FP4 film.

Bodiam castle study 2, East Sussex.

An early morning capture around 7-30am on a November day the water was beautiful and calm. I used Adox 25 sheet film, which has a beautiful tonal range.
5x4 camera with 90mm lens.

Clearing mist, Avebury, Wiltshire. 

I have taken many images of  Avebury over the years  but never captured the atmosphere that I was after. Avebury is a 200 mile round trip from my home so being there at the best time was almost impossible until I saw the weather forecast on Xmas eve 1997. Mist was predicted for Xmas day so my chance had arrived. I drove to Avebury on Xmas day and arrived around 10.00am and was shocked  to see the mist clearing  quickly with blue sky appearing. Rushing over to my favourite spot and setting up my 5x4 camera I managed to exposed three sheets of film before the mist cleared. Being Xmas morning no tourists or visitors were around. I arrived back home and had the sheets developed in time for Xmas lunch.
5x4 camera with 150mm lens. Ilford HP5 film.

Cliffs sea and sky, Dorset. 

Taken near Lulworth cove Dorset, a steep descent down the cliff face was needed to gain access to this vantage  point.  A peaceful October morning with little sea movement.
Mamiya RB67 camera with 127mm lens. Agfa 25 film.

Frozen waterfall, study 1. 

 I have photographed this waterfall many times in my early days of photography but had never seen it frozen like this before. I did not have a long enough lens with me when I first saw it frozen so I returned the next day with a long lens, hoping it had not melted.
Minolta 9000 camera with 75-300 lens. Agfa 25 film.

Reeds ice.

A simple minimalist image taken in a local park near my home.
Mamiya RB67 camera with 180mm lens. Kodak tri-x film.

Seven Sisters, study 1. East Sussex.
Seven Sisters is the name given to the white cliffs near Beachy Head, East Sussex.
I had arrived in the area very early on an August morning with the Sun rising behind the cliffs. I had to wait at least 5 hours for the Sun to glance across the cliff face and for the tide to be lower so that I could gain access to the rocky shore. The cloud formation was a lucky bonus.
Mamiya C330s camera with 55mm lens. Ilford Pan F film.





Seven trees, fog.
This image was taken in Richmond park early on a freezing cold December morning .
Mamiya RB67 camera with 90mm lens. Fuji acros film.

Straw bale, East Sussex .
The bales were located above the Seven cliffs in East Sussex, with the sea out of view left of the image. It was a lovely August morning although very windy. I rotated the foreground bale around slightly for a better composition.
Mamiya C330s camera with 80mm lens. Ilford Pan F film.

Three rocks. Hastings, East Sussex.
I had planned a visit to Battle Abbey on this November morning but as usual was hours early for the opening time so I continued to Hastings to take some images first. I arrived about 7.00am and immediately saw the three rocks from the car park so quickly set the camera up and clambered down the beach to compose the image. It was quite dark with a fairly choppy sea with 60 seconds exposure being required.
Mamiya RB67 with 90mm lens. Fuji acros film.





Born in London, UK, living near Clapham Common, Michael's fascination with photography began when he purchased his first SLR camera in 1985. Photographing initially in colour he soon became dissatisfied with the results and took a correspondence course in photography.  Inspired by the work of Ansel Adams he built his own black and white darkroom where he would spend many hours practising the art. The medium gave Michael full control of the creative process although early attempts were dull and most photographs were uninteresting.  His style has evolved over the years and recent work includes his local environment either early morning or under the cover of darkness.
Michael's slow methodical approach to photography combines perfectly with his use of medium format and 5x4 cameras, which have become his main tools for creative work in recent years.


By: Michael Gray (UK)











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living room




ballroom





My work started with recovering and retaining parts of Detroit's past glory.
Over time, it has turned into a larger project of taking self-portraits in these ruins.
The empty shell was left abandoned, sometimes the presents of the past occupants
was still visible in left behind furniture, clothing and other items but the actual human
element was missing.
My self-portraits are part of self-discovery and therapy.

All prints are enlarged by myself in the traditional color darkroom.

Born in Germany moved to Metro Detroit in 2001.
Currently studying photography in Royal Oak, Michigan
For my earlier work, I was using a Yashica MAT 124G,
today I am using a Hasselblad 500CM.



By: Silke Seybold (USA)














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polaroid


I am 22 years old and live in Sweden. I got involved in photography a few years back when I met my girlfriend. She was, and still is, very into photography, so I helped her in whatever way I could. After a while I started taking my own pictures. In the beginning I mainly used a digital camera, but after a while I drifted more and more towards film. Recently I have been taking a lot of medium format portraits of my girlfriend, not as a project or a series or anything like that, but mostly because I want to be able to take better portraits, and she is always around to be practiced on and also the only one I feel comfortable enough around to photograph.


By: Leo Tage-Hansen (Sweden)



*Photina reflex, Kodak portra 160nc or Zeiss Ikoflex, Kodak Porta 400CN








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Introduction

Sanders saunters into the living room and picks up his nine month old child, Charlie, and tells me: "I've always got to pick up my son in the morning. He will not let me pass." His young wife, Melanie, is scrambling eggs and toasting bialys. I'm in their rambling Upper West Side apartment and it's Sunday morning and there are two-and-a-quarter Tri-X negatives hanging in the kitchen and large black plastic development tanks decorate the floor by the kitchen table. The table is littered with restored Leicas and twin lens Rolleiflexes and next to it is Charlie's high chair that belonged to Sanders's great grandmother. It's old and made of wood. These two New Yorkers are from south of the Mason Dixie line.

Sanders asked me to write the introduction to his black-and-white love poems. He told me the photos that follow were about Melanie's journey from preconception to conception to carrying the baby to having the baby and they are but to me (every photo a photographer takes is a mirror upon oneself) photographs about Sanders. The fear and anguish on Melanie's face are the feelings of being scared that every expectant father has. Her joys of being a mother are his.

I think about the great and grand couples who were both photographers - Helmut and June Newton come immediately to mind. Last night when I came in late, Sanders had forgotten to take his film out of the fixer. This morning, just after dawn, I found Charlie playing in the living room, and Melanie cutting negatives by the sink. If one were to think about it ... this exchange, this bond between two people, could not be made with the digital world. It would be dependent on a third party: the computer. There is a patina, a soul to their young life together, that is held together by film.

I am glad that Melanie enjoys being naked in front of the camera. I would have liked to have seen shots of Sanders (but not naked). I am glad that Melanie's self-portraits are in the book to offset that separation that exists between photographer and subject. But I greatly enjoy seeing on each page the love Sanders has
for Melanie.

Eric Kroll

WE HAD A BABY LAST YEAR. Our son Charlie appears in this book. But this book is not about Charlie. It is about Melanie. And, if photographs tell the story of their maker, I suppose it is about me as well.

2008 rained heartache and calamity upon us. Every time we thought nothing else could befall us, something did. By Labor Day, I had begun to photograph Melanie with a documentary purpose, even though I was not at first aware of the reason, and even when I could hardly think to load the camera.

Melanie was released from hospital the day we elected Barack Obama president. We got on with the task of mending ourselves. We made Charlie the week before Christmas.


For Melanie,
who revealed to me
the possibilities of soulmates.




By: Sanders McNew (USA)





If you would like to see an online preview, or to buy a copy, you can find it in the
Blurb Bookstore










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Use without written consent by the author (Sanders McNew) is  illegal and punishable by law.

Things you should have read is a response to a space - the photographs are taken in a disused tannery and will be installed relative to their physical location in the building.



By: Alek Lindus (Greece)


born Paris, France, 1965. Educated in UK.
Lived in Greece since 1976, currently living in Samos.














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