Next Tuesday 12th February sees the opening of Looking at the View at Tate Britain.
This thematic display looks at continuities in the way artists have framed our vision of the landscape over the last 300 years. Comprised entirely from the Tate Collection, over seventy works by more than fifty artists will be included, with familiar names such as J.M.W. Turner and Tracey Emin making an appearance.
Among such luminaries will be a long-standing client of mine, Fiona Crisp. Tate will be showing a print I made for Fiona, ‘Norwegian Series #3 2007′…
As Fiona describes in an accompanying article for The Guardian:
Norwegian Series #3 2007 is from a cycle of four photographic works taken from a rural house high in the mountains of central Norway in the summer of 1999. The image holds no clue as to the time of day it was made but there is a quality to the light — or more accurately, to the differentiation of the interior and exterior light — that is hard to place. All the photographs in the series were taken at different points during the night when, in addition to a lack of darkness at this latitude, there are subtle shifts in colour cast that slightly nudge your perception off kilter.
‘Looking at the View’ also includes the work of Wolfgang Tillmans, Julian Opie, Tacita Dean, Carol Rhodes and Lisa Milroy.
The show runs until 2nd June with free entry.
I wonder if you’ve seen the work of Kelvin Okafor?
His sensational, life-like pencil drawings are confounding art critics and gallerists the world over.
Connoisseurs have been scratching their heads and even mistakenly cataloguing his work as photographs; photorealism taken to the extreme.
As many of you know, I’ve worked with a multitude of artists over the years, crafting their artwork into beautiful editions. Indeed, as pencil drawings are a speciality of mine, it would perhaps be the ultimate challenge to work with Kelvin on faithfully documenting such beautiful drawings…
Kelvin’s drawings also put me in mind of Chris LaPorte, who I wrote about here.
Well, we’re now firmly in the saddle of 2013 — I hope it’s started well for you…
Following on from the Platinum printing successes of last year, I have also been making Digital Negatives in preparation for Richard Freestone of 139 Printroom to work his magic.
Towards the end of last week, you may like to know that I revised and updated my Price List…
It contains new pages dedicated to specific areas of printing:
- Photographers’ Portfolios
- One-off Printing, Editions & Exhibitions
- Awards, Competitions & Degree Shows
The latter includes specific information on the upcoming Association of Photographers Annual Awards and the Taylor Wessing Portrait Prize.
Please feel free to download your Jack Lowe Studio 2013 Price List and familiarise yourself with the range of services I can offer you.
In the meantime, I’ll leave you with imagery from three photographers’ portfolios I’m delighted to have printed over the years.
Originally, I was going to choose just one from each photographer but I couldn’t do it! So, here’s two from each for your delectation:
— Julian Germain
— Jonathan Knowles
— Simon Winnall
In this, our Olympic year, the world has witnessed an extraordinary multi-cultural spectacle in the London Games.
For most, I’m sure, it has been joyous, exciting and fascinating to see so many people from so many diverse walks of life meet for one huge event.
As you may have read earlier in the year, I have had a small part to play in the Olympics too. However, I have also been working on the culmination of another huge multi-cultural project — Julian Germain’s Classroom Portraits.
I have worked with Julian on this project for seven years — scanning and printing some 200 images selected from the 500 or so made.
Largely commissioned by The British Council, this body of work has now become a huge documentation of the world’s youth in their schools around the globe.
Over the last few months, I have really enjoyed preparing many of these photographs for Julian’s major show The Future Is Ours at Nederlands Fotomuseum and for the accompanying book, Classroom Portraits published by Prestel.
Over the years, so many discussions have arisen in the making of these photographs.
In preparing this article, I posed a question to Julian:
“In your preface to the book Classroom Portraits, you describe the seemingly magical moment where ‘you are waiting for them and they are waiting for you’.
“Having visited so many schools in so many countries across the globe, you have clearly had a unique insight into the lives of thousands of children from so many backgrounds and cultures.
“I wonder, on your travels making these portraits, can you recall where you experienced the greatest vibe of happiness?”
“Well, that isn’t an easy question…
“Firstly, I found mostly happy, interesting kids everywhere I went, as well as a few surly difficult ones. I enjoyed every country too, although I did find Saudi Arabia and Qatar more difficult to acclimatise to.
“I guess you are really referring to a vibe coming from the pupils but I can’t avoid my response being coloured by the vibe that I was getting not simply from them, but from being in their country, experiencing their culture beyond the classrooms.
“On that basis, I was probably most deeply affected by experiences in Ethiopia, Bangladesh and Yemen — all extraordinary places with particularly friendly and, let’s not pretend otherwise, very poor people, without access to the consumerism that defines our (or any) modern economy.
“I wouldn’t be surprised if I was seduced by the idea of this kind of innocence of materialism — lets face it, in a way this is one of the themes of For Every Minute You Are Angry You Lose Sixty Seconds of Happiness isn’t it?”
“Nevertheless, to try and give you an example of a happiness vibe moment…
“In Ethiopia, because of the rain and mud, I had to abandon my truck, lights, generator and walk two miles to a village primary school.
“It was a beautiful walk past open countryside and occasional round wooden houses with thatched roofs, no electricity or running water. The few people I saw smiled and waved.
“It was quiet, tranquil even, just the sound of the birds and the light breeze in the trees. The school was crowded with kids (so they must have come from far and wide) and it was missing at least two teachers that day.
“Some pupils had notebooks and pens but most didn’t. The teaching was obviously basic. There were just a few textbooks. No desks or tables, just benches and a blackboard, mud floor and walls.
“I photographed every class, two in lessons and the other three outside because every class was desperate to be photographed. They took it very seriously and were very proud.
“At the end of the morning (a different crowd of kids arrived for the afternoon session) I walked back along the track with several pupils, each of them eager to show off their handwriting before peeling off at various points on the track to follow their own particular paths home.
“They told me that if and when they graduated to secondary school they would walk 9 miles there and 9 miles back, not a prospect that bothered them in the least — in fact, they were looking forward to it.
“That afternoon I visited that secondary school and made a portrait of a Grade 12 Physics class with at least 70 pupils, several of whom had gone to the aforementioned primary and would shortly be embarking on that long walk home.
“The lesson was on the First Law of Thermodynamics — way over my head. The teacher was amazing, dressed in a sparkling white lab coat, passionate about his subject and very proud of his pupils.
“I was moved, overwhelmed by the vibe created by a room full of young people with such enthusiasm to learn.”
In addition to the photographs, the reader is treated to a foreword by Dr. Leonid Llyushin, Professor of Pedagogy at St. Petersburg State University along with a preface by Julian.
A truly stunning, engaging publication and an essential addition to any photo book collection…
The exhibition of 140 prints is running at the Nederlands Fotomuseum, Rotterdam, until 2nd September.
Rather than working solely in the digital arena, I consider myself a fan of all things photographic.
Over the past twelve years or so, I have dedicated my life to the highest quality inkjet printing (sometimes know as Giclée). However, keen followers will know that I have also been working intensively on the analogue side for the last two years or so with Richard Freestone of 139 Printroom.
Together, we have been bridging Centuries to produce sumptuous analogue Platinum/Palladium prints from modern Digital Negatives.
This side of our working lives has been steadily taking shape as increasing numbers of photographers, collectors and galleries begin to understand the beautiful nature of the service we are now able to offer.
Every now and then, the most wonderful convergence of events can happen in photographic printing — Richard and I have been privileged to enjoy such a convergence over the last fortnight or so…
Picture this: A commission from a world-famous photographic collective to make a Platinum/Palladium print edition of one of the most iconic humans ever to grace the planet.
Thomas Hoepker (b.1936) joined Magnum in 1964, becoming a full member in 1989. He has many incredible photographs, exhibitions and publications to his name.
Richard asked Thomas how this image came about and he gave a candid reply:
“I got this shot when I worked on a reportage on Ali in Chicago in 1966. I watched him during training in the gym and during a short break he saw me sitting there in a corner.
“He danced up to me, stopped briefly in front of my seat and threw three quick pushes in my direction. Then Ali turned around and was gone.
“Only one shot is sharp, the other two underexposed. There was very little light.”
Thomas has also just published a book on Ali called CHAMP carrying the same image on the cover.
The Platinum/Palladium process suits the photograph perfectly — with each print carrying a stone-like quality, it really feels as though the viewer is about to be hit by a fist of rock!
If you would like to learn how we can make Platinum/Palladium prints for you from your digital files, remember to take a look at this page.