Col Du Peyresourde, L’Alpe D’Huez, Sa Calobra, Stelvio can only mean one thing to some: Le Tour de France — the famed cycle race established in 1903.
Michael Blann (a keen cyclist himself) has a passion for Le Tour, so much so that he’s set himself the challenge of documenting the stunning course.
Printing Michael’s work has been a real pleasure, so I recently asked him to talk me through the series:
“The idea for doing a project based on European mountains and their roads has been simmering for some time and I guess is rooted in my formative years riding a bicycle and watching the Grand Tours (of cycling). For me, there’s always been something very mythical about mountains and when I’m there I always feel a sense of excitement mixed with serenity. The challenge they present to cyclists adds a very primeval dimension of man overcoming mountain. They are always painful experiences but equally rewarding.
“So I guess I came to the project wanting to portray these mountains as something more than just rocks. I wanted to show their character, the way they are defined by their roads and man-made structures, the vegetation, the way they change through the seasons. But I also wanted to put this into the context of cycling, after all, many of these mountains have been given mythical status through cycling. L’Alpe D’Huez wouldn’t have the same notoriety if Le Tour hadn’t passed over it in 1986 when Bernhard Hinault and Greg Lemond resolved their differences and rode the climb together with a clear lead over the rest of the peloton.
“For me, I wanted to capture the permanence of mountains, their scale and sheer presence. It was important to shoot them through all times of the day and seasons. The contrast from winter when just a faint impression in the snow shows the line of the road set against the spectacle of a race in mid summer was very appealing. I also kept coming back to the idea that a cycle race is no more than a travelling circus that visits for the day and is then gone again, leaving the mountain behind. There’s the notion that the mountains are the constant that provide the platform for these dramas to play out.
“This line of thought dictated my approach as I wanted the work to have a quietness about it that showed a certain homage towards mountains. Pulling back from any human elements whether it is the roads or fans lining the race route was important, as it showed everything in context. People became insignificant in the grand scheme of things and scale became a strong thread throughout.
“This also dictated the equipment I chose to shoot on — a Hasselblad H4D-50. Like the old 10×8 cameras, I wanted to capture all the detail and fidelity to ensure nothing was lost when the images were enlarged. Great care is needed at the size as all the faults and imperfections become more apparent and it offers less leeway for error. For this reason I teamed up with Jack Lowe to help ensure a great result through the printing process.
“With the initial phase of shooting completed I am now embarking on the winter shots, much of which will be shot from a helicopter. The project will culminate in an exhibition and coffee table book in the autumn of 2014.”
On a Technical Note…
I’m not generally one to have ‘camera conversations’ but you can imagine that I’m often asked about the best camera files from which to make the finest prints.
For years, in partial answer to that question, I’ve banged on about the fact that more pixels don’t necessarily result in a better file — pixel size plays a huge part in the signal-to-noise ratio battle, for instance.
In addition, any photographer will tell you that the following statement is high on the list of insults:
That’s a great photograph — you must have an amazing camera!
(I have some great replies but more on that another time…)
That said, I thought you might be interested to know that Michael’s files from his Hasselblad H4D-50 were among the best I’ve ever seen (and please note that I’m by no means associating that with his great photographic skills!).
I loved poring over the details lurking in just about every corner.
A quick conversation on Twitter confirmed a general consensus that this camera is fast-becoming a modern classic…
Finally, here’s an example to illustrate my point — first a full-frame image and then a crop showing the file at 75% (not 100% as it then became so close that it was hard to see where the crop had come from!):
There are so many puns I could have used for the title of this blog post but I’ve been a good boy and refrained.
What you are about to read has been a long time coming. During my digital printing career, the best part of fourteen years now, there’s been one issue that’s bugged me throughout and just doesn’t want to go away.
In fact, it only seems to become more prevalent.
It occurred to me that the best thing to do in this situation would be to empower you, the art world, with the appropriate information and let you decide for yourselves.
So, here’s what’s been bugging me, along with what I know about it:
The word Giclée.
In the art world, Giclée has become a widely adopted term to describe inkjet printing of the highest quality — so much so that it’s even in my computer’s dictionary.
In galleries, websites and portfolios around the globe you’ll see it misspelled and mispronounced like no other as people try to get comfortable with this tricky word.
Even Photogravure and Daguerrotype (names for other processes) seem easier to say than Giclée.
A Little Bit of History…
The original intentions behind the use of giclée are totally innocent and honest.
Back in the Nineties, a famous established American printer called Jack Duganne was at the bleeding edge of digital inkjet printing technology.
In making his beautiful prints, Jack was among the very first people to offer inkjet printing commercially to the discerning fine art world.
But he needed a name for his process, a name that would sound elegant and really pop…
“The French language sounds good”, thought Jack (who told me this himself many years ago), so he picked up an English-French dictionary and looked up the word for squirt or spurt — after all, that’s what happens when the printheads fire ink onto paper, right?
And, lo, Giclée was born and we’ve battled with its spelling and pronunciation ever since.
What’s Wrong with Giclée…?
It sounds nice doesn’t it? And, in a way, it is.
Unfortunately, you only have to speak to a Frenchman (or, as happened recently, a Swiss friend) about your Giclée process to be sure of a drenching as a result of the coffee they’ve just spat all over you…
Why? Because, and there’s no easy way to say this, in French slang giclée means ejaculation.
In his first week working with me, Antoine (a wonderful French assistant) saw an email drop into his inbox entitled ‘Giclée Print Order’.
Through his tears of laughter, strong French accent and slightly broken English, he finally composed himself and managed to utter the now legendary words:
“Hey, Man, we’re going to be really tired after making these prints, no…?”
So, Which Name Should We Use..?
If you’ve ever worked with me or downloaded my Price List, you’ll know that I only ever use Giclée in brackets like this:
(sometimes known as Giclée)
Digital Inkjet Prints of the Highest Quality doesn’t exactly roll off the tongue, so I like to call them what they are:
Archival Pigment Prints (APP)
Take note, however, that I only use this name because that’s what they are — archival and made with pigment inks.
Be sure of your choice of paper and ink before you adopt the name to describe your own printing methods.
Spread the Word…
Once you’ve digested the information above, decide for yourself.
If, like me, you feel that Giclée should no longer be used to describe high quality inkjet printing, then spread the word — PLEASE!
Tell everybody who needs to know and, hopefully, we can make a difference…
It’s always a treat when I can be involved in a body of work over a long period of time, seeing its progression and printing the resulting exhibition.
I’ve worked with Damien Wootten for many years now — nine, in fact. During that time, he’s visited several North East locations repeatedly for the last eight years to form the series, Coastal Retreats.
Mainly working in and around Newbiggin-by-the-Sea, Damien’s immersion in the area really shines through.
As he describes:
“At times everyone needs somewhere to retreat to, and I’m sure — like many — my destination seems to be the coast, and being a photographer it seems inevitable that I take my camera with me. I’m very familiar with the North East coast of England and parts of it are deserted, wild and beautiful — but it is the more ordinary, everyday and less attractive areas that interest me more photographically.”
“I have never questioned too deeply why I have chosen these locations to work in and accepted it as an impulse and a need. Hopefully these images have something more to give than just to show the surface of things and offer something worthwhile and contemplative to say about our place within our landscape. These coastal areas seem to symbolise that – where the man-made reaches the edge of things. This is where the natural environment takes over, restraining human encroachment.”
I love the Northernness of ‘Coastal Retreats’, a feeling that I’m sure prevails as a result of Damien living in the area along with his seemingly unconditional persistence!
Anyone who lives in the wild and woolly North East will know exactly what it feels like to stand in many of the scenes Damien’s captured, not least a biting one such as this:
Printing this series has been a true pleasure — I hope all those who manage to see the show between 12th October and 2nd February at the Woodhorn Museum in Northumberland enjoy it as much as I have.
The photographs are all 40x40cm Archival Pigment Prints on 60x60cm Museo Silver Rag 300gsm using HP Vivera Pigment Ink.
This year, the Bupa Great North Run was a two-pronged affair for me…
Best known for her eye-catching designs for the likes of the V&A, Nike, Moët & Chandon and Topshop, Daisy created a series of portraits in her distinctive colourful style for the commission, entitled Run Colour Run.
“What I saw when I went to the Great North Run was there were a lot of people, it was very visual. I went around with my camera and I took photos of anyone I thought looked interesting. So, I’ve taken pictures of a whole range of people – not just the athletes and participants, but the hospitality staff, security, the Red Arrows, event organisers, people with their families, kids cheering on their dads, people in costumes, different characters that stood out to me. A lot of these will show up in my portraits.”
From her Paris studio, Daisy discusses the project further:
Recently, top international athletes Ryan Bailey and Josh Cassidy came face-to-face with their portraits, now showing at the Laing Art Gallery here in Newcastle upon Tyne:
One of the joys of 2013 has been meeting and working with the acclaimed photojournalist, Tom Stoddart.
As his site describes:
“During a long and varied career Tom has witnessed such international events as the war in Lebanon, the fall of the Berlin Wall, the election of President Nelson Mandela, the bloody siege of Sarajevo and the wars against Saddam Hussein in Iraq.”
On meeting for the first time, I couldn’t help but think that the clinical environment of my studio was surely at odds with many of those frightening, desperately upsetting scenes to have passed before Tom’s eyes.
When he calls to let me know that a photograph is on its way for me to print, it’s hard to know exactly what will appear on my monitor — especially when the file is entitled ‘Cool Dude’.
So, what will a photograph by Tom Stoddart be like that’s called ‘Cool Dude’?
Well, it’ll be like this:
A striking image and one with an equally striking story:
COLOMBIA – NOVEMBER 1996: Cocaine is worth billions of dollars to the Colombian drug traffickers. More than 70,000 people have died in the cartel wars, and Colombia’s elite Special Forces have battled hard to stem the flow of drugs from the jungle region of Guaviare which covers an area of 26,000 sq miles and produces more than half the world’s cocaine. The photograph shows Special Forces after blowing up a landing strip used by cartels to transport cocaine from a coca-processing lab in the heart of the Colombian jungle.
Tom candidly told me about another facet to this photograph:
Having flown in by helicopter, a 4×4 vehicle belonging to the cartel was found nestled in the bushes. Unusually, the Special Forces decided to try and drive it back to the Police station some 100km away.
So, Tom now had the choice of returning by car or helicopter.
He chose the latter, which was fortunate as the 4×4 was ambushed en route. One of the Special Forces’ men was killed, the others were wounded but survived…
Tom has kindly given me a copy of his stunning book, iWITNESS.
Published by Trolley, printed in Italy and with a foreword by Sir Bob Geldof, it’s a beautifully produced tome full of anguish, sadness, desperation, horror, hope and optimism.
As Tom said when he handed it to me, “It’s just so sad that images like this even have to exist.”