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.
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…
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!
It has once again been a great pleasure to print his latest body of work, Rockin’: The Rockabilly Scene, to be shown at The National Theatre in London from next month.
I asked Andrew how he became attracted to the rockabilly scene:
“A big part of me is interested in sub cultures, and the Hells Angels book was clearly an expression of that, but that is its only connection with the rockabilly book.
“The idea was suggested by a friend, and I quickly realised what a great idea it was as rockabilly is a very visual genre.”
“The most enjoyable and challenging images to realise were the dancing pictures. I was working in virtual darkness and had my assistant roaming around with a large flash on a long boom arm in the background whilst I was in the thick end of the dance floor trying to focus but also avoid being trampled by the dancers. I wanted to capture the vibrancy, obvious joy and expressions of the dancers, and I hope I achieved that…”
Andrew’s book Rockin’: The Rockabilly Scene is published by Merrell on 12th April 2011.
Many moons ago, during my days of photographic assisting in London, I met Andrew Shaylor—an extremely talented and versatile photographer, able to turn his hand with ease to so many genres.
Whether portraiture, landscape, travel or automotive, Andrew’s photography is always a visual treat.
Little was I to know in those ‘greenhorn’ days that, further down the line, Andrew would become a client of Jack Lowe Studio and I would be able to work on making his fine art prints.
A few years ago, we worked extensively together on huge, striking pieces for his Hell’s Angels Motorcycle Club exhibition. This week, it has been great to revisit this project and make another large format print for Andrew—this time, ‘Sean & Nelson‘—with HP’s Vivera Pigment ink-set and Hahnemühle Bamboo 290gsm.
If you have a moment, do take a look at Andrew’s site where you will find more information on the HAMC series along with galleries of his other work…