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Showing posts from June, 2016

Hamlet at the Geffrye Museum

Fiona / Ophelia

Helen Lyon (Overlaid)

Tracing

Getting to grips with pencils again after forty five years, here I've traced over a photograph by Helen Lyon - the above was taken part-way through the process.

Alfredo Volpi at Cecilia Brunson Projects

I like these warm, friendly paintings.

In the Car Park

In the Car

Rough around the edges

In the somewhat hermetic world of photography and photographers, there is a lot of talk of "getting it right in camera" and pride is taken in showing photographs "SOOC" (Straight Out Of Camera - see the post below this one for a rather schlocky example that, being heavily post-processed in camera, doesn't serve as a great exemplar but never mind). It is assumed that one particular photograph that has had less post-processing than another particular photograph is, all other things being equal, "better" than the post-processed example. The roots of this aren't terribly complex - the assumption is that the photographer who doesn't have to post-process is better because she saw the photo in real time and used her knowledge of her camera and lenses, of light and all the other mechanics of making a picture, to make the picture there and then, thereby demonstrating quick-wittedness, "vision" and more skill than someone who cannot do this.

W…

Cornwall 2016

Little bridge at Trebah Garden, Cornwall. SOOC: I was trying out a few of the presets on the D750 - just playing really. This one is called "miniature effect" or something - it was all the rage for about ten minutes a few years ago. Now, there is a camera setting for it... essentially the setting seems to boost contrast, boost saturation and adds blur top and bottom of the picture making your landscape look like a model railway or some such, reminding me of the hours and hours I spent as a kid making dioramas for Tamiya models of German tiger tanks or US desert-ready jeeps - little plastic bags of lichen, melted sprue, sand, plaster, polystyrene ceiling tiles doing service as the walls of a bombed-out French farmhouse. Ah me, the energy put into those little worlds - is the drive to make those the same as the drive to make photographs: the desire to control the world, to "capture" it?

UPDATE: Every time I look at this picture I like it less. But I'm leaving it…