May 242011

As Paul Kenny‘s solo shows at South Shields’ Customs House and London’s Chris Beetles Fine Photographs draw nearer, it’s a treat when he arrives at the studio with new work to print.

Paul’s collection of new work is evolving along exciting new avenues. Here are two of his latest pieces, Fritillary, which I have made as Archival Pigment Prints on Hahnemühle Photo Rag 308gsm for him.

As ever, the prints carry an extraordinary three-dimensional quality…

Paul Kenny, Fritillary 1

Paul Kenny | Fritillary 1

Paul Kenny, Fritillary 2

Paul Kenny | Fritillary 2


Paul explains the work further:

“One of the roots of this work is a trip I made to Japan many years ago during the blossom season.

“They have a kind of ancient rite, called O Hanami, which involves journeying into the landscape and sitting under blossom trees, simply to have the pleasure of letting swirls of petals drift over them.

“The translation of O Hanami is “The celebration of transient beauty”…it might end up as the title of this work.

“These two new pieces are made using petals from a snake’s head fritillary. I used to have a poster of a Charles Rennie Macintosh drawing of them and that’s in there somewhere too.”

'Fritillaria' 1915 (Watercolour) Charles Rennie Mackintosh

'Fritillaria' 1915 (Watercolour) | Charles Rennie Mackintosh

May 192011

I recently wrote about my work with Andrew Shaylor on his exhibition, Rockin’: The Rockabilly Scene.

From April to May, fifty stunning photographs graced the walls of The National Theatre on London’s South Bank.

Hot on the heels of Rockin’, it has been great to revisit another project of Andrew’s—The Circus.

I first had a glimpse of this body of work some seven years ago and, last week, the time came again to fire up my scanner and set about recording yet more captivating imagery from Andrew.

Andrew Shaylor Circus Dr Death

Dr. Death | Steam Rally, Portsmouth

However, on receiving the parcel of 6×6 negatives and reference prints, little did I know that I was about to experience a shock ‘blast from the past’.

Staring at me from within the box was David Weeks, the ticket inspector from my school train journey!

He was certainly a character and, on reflection, it is of little surprise that I should see him in this guise…


Andrew Shaylor Circus Spieler

Spieler | David Weeks, Petersfield (the ticket inspector on my school train)

Periodically, it’s certainly a pleasure to return to making high resolution film scans.

Film will always own a unique charm and beauty.  If nothing else, it’s interesting to be reminded of grain structure’s dominance in the make-up of a negative.

So very recently, we used to be more than happy to accept the wonderful image quality provided by film.

To my mind, this sits at odds with a modern-day obsession—the eradication of relatively low levels of ‘unsightly’ noise in our digital captures.

I’ve written before about the importance, in my opinion, for a contemporary photographer to remind him or herself of our medium’s roots, especially in this era of The Photoshop Aesthetic

Once in a while, let’s keep some noise, I say, and avoid the clinicism!


Andrew Shaylor Circus Bob Courtney

Bob Courtney | Courtney Brothers Circus, Co Wexford, Eire


May 122011

Well, it’s been a while since my last post; busy times at Jack Lowe Studio and the small matter of a semi-enforced break for a Royal Wedding…anyway, it’s good to be back in the Blogosphere once more.

I’m pleased to announce that four of my very own photographic pieces, Tree Spaces, will be showing at Hoults Yard’s ThinkTank for two nights only (Friday 13th and Saturday 14th May) as part of The Late Shows in and around Newcastle upon Tyne…

'Tree Space 2', Bolam Lake, Northumberland, 2004

'Tree Space 2', Bolam Lake, Northumberland, 2004

You may have seen my previous post a while ago but here’s a reminder for you:

Made at Bolam Lake in 2004, this is the first time I have shown all four of these pieces together.

At 40 inches across, my Tree Spaces turn walls into windows.

I hope the audience enjoys the sensation of ‘being there’ as if standing in the woodland releasing the shutter themselves.

These pieces are for sale individually as Archival Pigment Prints on Hahnemühle Photo Rag 308gsm, each in an edition of 25.

As an added bonus, I’m also hoping to show my Calotype of Chris, made using an HP Digital Negative.

I’ll be showing alongside the Aurora-chasing Reed Ingram Weir and renowned street artist, Sickboy.

If you can make it, I’ll look forward to seeing you there…


'Chris' by Jack Lowe, 1999, 20x16" Calotype from HP Digital Negative

'Chris' by Jack Lowe, 1999, 20x16" Calotype from HP Digital Negative

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