An author, publisher, editor and enthusiast for all things photographic, Chris was probably best known as being the driving force behind Ag Magazine, The International Quarterly Journal of Photographic Art & Practice.
Ag Magazine is a superb publication, the only periodical to which I have subscribed in recent times. It is self-billed as, “The Home of Photography”—a statement with which no reader could surely argue.
I didn’t know Chris very well at all; we met once and had a few chats over the phone. Nevertheless, he has been in my thoughts an awful lot today.
A leading light has sadly been extinguished and I pass on my heart-felt wishes to his family.
On this Friday morning, I find it difficult to think of a more pleasant way to end the week than to show you the work contained within this missive, Blog Post 88.
I have known Julian Calverley for many years and it has been a true pleasure to work with him on a more regular basis of late. A post in October last year described an enjoyable couple of days working together in my studio.
Rather than ramble on, I’ll defer further communication to the imagery. The first two photographs, below, form the beginnings of Julian’s new project, North Northwest.
Following those are details I captured of the four Archival Pigment Prints I made for Julian this week.
In all cases, the prints are made with HP Vivera Ink and Hahnemühle Bamboo 290gsm…
Once again, I’m proud to have made the high resolution scan in preparation for the production of the latest twenty metre banner adorning BALTIC’s quayside wall.
As you will see, this is a particularly satisfying outcome when seeing the tiny size of the original artwork…!
Those who caught a post in November on my work with Anne Vibeke Mou will have had a glimpse into one of the areas of digital imaging I enjoy the most.
To my mind, scanning paintings and drawings at very high resolution, in order to produce an Archival Pigment Print, is one of the real opportunities to let the digital medium sing.
When presented with a pencil drawing, such as this piece by Liam Murray, I see it as the ultimate challenge to ensure that the print I make is extremely difficult to differentiate from the original.
Scanned in ten parts on my Fuji Lanovia, I set about painstakingly stitching the elements together. No mean feat with so much detail and texture.
However, my workflow has been refined time and again over many years in order to perfectly achieve a truly seamless result.
Making the final print with my HP DJz3200 on Hahnemühle Museum Etching 350gsm caps off the entire process with aplomb…
This piece of Liam’s is undoubtedly quirky and he explains it for us here:
“The piece is called Caravan. I finished it in 2010. It’s a little anecdote on human endeavour. I like the metaphor of a dwelling built on a scaffold, an impossible scaffold. It’s a laborious and spectacular choice, with unclear motive and likely failure. Despite this, on paper at least, it exists.
“I enjoy finding these ironies and tensions in life. Sometimes the endeavour succeeds despite utter negligence, other times rigid efficiency results in disaster. Nothing in life is certain, but a desire to make sense of it persists.
“I have long been fascinated with the idea of the fluke, and the unpredictability of life. Stories of catastrophes and lucky escapes are reminders of how fragile we can be yet how optimistic we remain. My aim is to depict scenes inspired by that tension and irony. “Bad things happen to good people and good things happen to bad people.” This to me is a grand and playful paradox that might offer an insight into the root of my drawing.”