Sep 062011
 

I love the Autumn, it feels like the next chapter.

With the ‘Summer’ over, the arrival of Autumn provides a brief chance for reflection on the year so far, before knuckling down to the winter months ahead.

In the lead up to a break at the end of August, I enjoyed a very busy time in the studio.

I was very excited to work with Andrew McConnell once again, this time for a show in Dubai (regular visitors may remember my previous post when printing Andrew’s Congo images).

Excited, not least now that Andrew has been crowned a winner of the hallowed World Press Photo contest.

Winning 1st prize in the Singles category, Andrew also won 1st Prize in the Stories category with his series The Last Colony.

Andrew McConnell, The Last Colony, World Press Photo Winner

Soldier of the Polisario Front | Tifariti | Polisario Controlled Western Sahara

Andrew describes the project in more detail:

“Having lived and worked in Africa for a number of years, I was intrigued by Western Sahara as it was always the country on that continent that I heard the least about. So I read the history and was shocked to learn that the conflict there had never been resolved and that tens of thousands of indigenous Saharawi were still languishing in Algerian refugee camps. I thought it was a story that simply had to be told.

The style of photography came about because I wanted the images to have a strong message: to relate to the outside world the Saharawi issue and the injustice. I wanted to give a sense that this is one long night for the Saharawis, one lasting 35 years. To show very little of the land emphasizes that they are landless, and very simply by lighting them in the darkness I was saying, “Look! These people are here!” Finally I wanted the viewer to see what I had seen; a people utterly forgotten, abandoned, out of the world’s consciousness: a people as ghosts.”

Andrew McConnell, The Last Colony, World Press Photo Winner

Bedouin Woman at Her Home | Tifariti | Polisario Controlled Western Sahara

The A1 and A2 prints looked stunning ahead of their shipment to Dubai, utilising one of my all-time favourite combinations—HP’s Vivera Pigment Ink on Hahnemühle Photo Rag 308gsm paper.

For now, I shall leave you with more images to enjoy from The Last Colony series…

Andrew McConnell, The Last Colony, World Press Photo Winner

Journalist | Tifariti | Polisario Controlled Western Sahara

Andrew McConnell, The Last Colony, World Press Photo Winner

Government Statistician | Smara Refugee Camp | Algeria

Andrew McConnell, The Last Colony, World Press Photo Winner

Camel Worker Near the Saharawi Refugee Camps

Andrew McConnell, The Last Colony, World Press Photo Winner

Friend of the Camel | The Desert Near Tifariti | Polisario Controlled Western Sahara

Andrew McConnell, The Last Colony, World Press Photo Winner

Print Detail | HP Vivera Pigment Inkset | Hahnemühle Photo Rag 308gsm

Jun 142011
 

Following on from my post last Friday, I thought you might like a glimpse into some prints I am making for Julian Calverley’s portfolio.

You can see further images from Julian’s new body of work by visiting his superb blog

 

Julian Calverley People in Landscape Landowner

Julian Calverley | Landowner

Julian Calverley People in Landscape Landowner

Detail from Archival Pigment Print | HP Vivera Ink and Hahnemühle Bamboo 290gsm

Julian Calverley People in Landscape Landowner

Detail from Archival Pigment Print | HP Vivera Ink and Hahnemühle Bamboo 290gsm

Jun 102011
 

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

Julian Calverley North Northwest Harris

Julian Calverley | Isle of Harris, Outer Hebrides

Julian Calverley North Northwest

Julian Calverley | The Cuillins from Elgol, Isle of Skye, Inner Hebrides

Julian Calverley North Northwest

Detail from Archival Pigment Print | HP Vivera Ink, Hahnemühle Bamboo 290gsm

Julian Calverley North Northwest

Detail from Archival Pigment Print | HP Vivera Ink, Hahnemühle Bamboo 290gsm

Julian Calverley North Northwest

Detail from Archival Pigment Print | HP Vivera Ink, Hahnemühle Bamboo 290gsm

Julian Calverley North Northwest

Detail from Archival Pigment Print | HP Vivera Ink, Hahnemühle Bamboo 290gsm

Julian Calverley North Northwest

Jun 032011
 

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.

Liam Murray Caravan

Liam Murray | Caravan

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.

Liam Murray Caravan

Detail from the 1.1GB Digital File

Making the final print with my HP DJz3200 on Hahnemühle Museum Etching 350gsm caps off the entire process with aplomb…

Liam Murray Caravan

Signature | Detail from the Archival Pigment Print

Liam Murray Caravan

Ladder | Detail from the Archival Pigment Print

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.”

Liam Murray Caravan

Buckets | Detail from the Archival Pigment Print

Liam Murray Caravan

Ladder | Detail from the Archival Pigment Print

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

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