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:
In January 2011, one of our finest actors passed on to The Great Mystery.
Pete Postlethwaite commanded the screen and stage with his formidable presence, his film career punctuated with startling roles in Brassed Off, Baz Lurhmann’s Romeo + Juliet, The Usual Suspects and let’s not forget Jurassic Park…
Paul described to me how he made such a gentle portrait:
“Pete Postlethwaite lived with his family in south Shropshire. Close by is a local beauty spot and National Trust area called the Long Mynd. As Pete was himself a lover of the natural beauty of the south Shropshire hills, he wrote the foreword to a book written about the area.
“I covered the event for a society magazine. During a quiet moment I asked him if I may take his portrait to which he agreed. Totally unassuming and down to earth, he stared straight into the lens with those soulful eyes.
“The impromptu shoot was over in less than five minutes. Actually, I had photographed him on other occasions, but this image captured his integrity and for me reflected more faithfully my feelings of who he was.”
Although brief, it sounds like a wonderful moment for Paul with such a beautiful outcome.
Following some canvassing on Twitter and in ‘real life’, I’d like to leave you with a clip of one of Pete’s performances.
There are so many to choose from but this tear-jerking scene in Brassed Off came up consistently — as a friend of mine described it, “The most poetic piece of swearing ever filmed.”
Hankies at the ready…
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It has been a great pleasure to make three huge prints for Chris Harrison’s latest show, I Belong Jarrow, which opens this evening in Norway.
Chris grew up in Jarrow (very near to my studio here in Newcastle upon Tyne) and now, as he writes on his About page, lives in a little yellow house on the edge of a wood near Oslo.
Although he’s settled abroad, Chris is obviously still very attached to the town he recognises as home:
“I was born and brought up in Jarrow, a tough industrial town on the south bank of the river Tyne. It’s where I call home.
“I have lived abroad for more years than I care to admit. My Mother and Father are getting old and moving out of Jarrow, cutting me adrift with no way back. Finally, I have been forced to think about who I am and where I belong.
“I never wanted to leave Jarrow. I always imagined that one day I would make it my home. I realise now that I can never return. Somehow I traded knowledge of the outside world for some vital piece of me.
“With this realisation, I have returned home in order to try to establish how much of where I am from determines who I am, and to begin to understand why I can’t seem to let go.”
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.