Congratulations to Mark Westerby, a neighbour and client of Jack Lowe Studio here at Hoults Yard. He has just heard that ‘Hockey Pitch‘, a print I made for Mark, has been successful in the ‘Commissioned Advertising Single’ category of the prestigious Association of Photographers Awards 2010.
‘Hockey Pitch‘ is an Archival Pigment Print made with the HP DJz3200 on Hahnemühle Fine Art Baryta 325gsm.
Once again, well done Mark and good luck on the presentation night.
As well as stills photography, the moving image has also always intrigued and entranced me. In my early teens, with a make-shift darkroom already installed in my bedroom for a few years, I spied a second-hand Sankyo Super 8mm cine camera in a local camera shop window. For £30 it was mine but, of course, at that age I didn’t appreciate the hemorrhaging my limited funds would suffer by supporting such a habit.
The acquisition of a projector and editor made it even more fun, and the costs didn’t detract from the wonder of thousands of still images on metres of celluloid creating the sensational illusion of a moving image. I still have all these items (above), which are now consigned to display pieces here in the studio.
The days of tinkering with film are long gone but I still love to see such illusions. There’s a fine example at the moment in the castle at Belsay Hall as part of the Extraordinary Measures exhibition—Mat Collishaw’s zoetrope Garden of Unearthly Delights:
Thankfully, my friends and colleagues know I love these visual treats and send me things to look at. Neil Barstow pointed me in the direction of the following clip, Phonographantasmascope, which I also thought you might like to see:
I read today in Campaign Live that the government are “to tackle airbrushed ads“.
The industry awaits the outcome with anticipation and expectation—I guess this will still be playing on their minds…
As one Campaign Live reader says, “You would have to be all kinds of stupid not to know images are airbrushed.” I couldn’t have put it better myself.
I enjoy my regular involvement with the universities of Newcastle, Northumbria and Sunderland, working with students around this time of year on their MA and Degree Shows or giving the occasional lecture on the technical aspects of digital imaging.
In recent weeks I have been working with Sophie Ingleby, making Archival Pigment Prints of a particularly intriguing and engaging series of photographs, Known/Unknown, for her MA in Photography.
As Sophie writes, “The images explore the relationship between painted portraits, their owners and the environments they share. Using selected works by the society painter Philip de László, the work considers the nature of collecting and remembering, and how class and wealth influence this.”
The series is not only work in progress for Sophie’s MA but is also showing at the Aberdeen Art Gallery from 31st July to 4th September.
The Archival Pigment Prints for the show and Sophie’s portfolio were made on Hahnemühle Photo Rag 308gsm with HP’s Vivera Pigment ink-set on the DJz3200.
On a beautiful evening here in Newcastle upon Tyne last Friday, one of the hottest tickets in town was the opening of Tomás Saraceno’s 14 Billions (Working Title) at BALTIC—an event for which applications, by all accounts, were oversubscribed by two or three times…
It was a fantastic evening with an engaging discussion between the audience, Saraceno and Dr Peter Edwards from Durham University chaired by the curator, Alessandro Vincentelli.
From the accompanying literature, “Spanning some 350 cubic metres, 14 Billions (Working Title) took two years to develop and made in collaboration with arachnologists, astrophysicists, architects and engineers. The web is composed of 8000 black strings connected by over 23,000 individually tied knots….Scientists have used spiders’ webs when describing the early origin and structure of the Universe and the title ’14 Billions’ refers to the approximate known age of the Universe.”
You may have read in my previous post that I was commissioned by BALTIC to make three large pieces for the show, which look stunning in the ‘back room’, float-mounted on Dibond against black walls.
The production of these works truly tested the technological and hardware capabilities here in the studio—miniature type and hair-line vector artwork beautifully laid down onto Hahnemühle Photo Rag 308gsm.
Never before have I had such a sensation of data pouring, Matrix-style, from a printer—thousands of tags and lines on 44″ paper cascading from the machine.
More images showing the prints in production at Jack Lowe Studio can be viewed in this gallery.