Being a film photographer I move a bit slower and am more concerned with the nature of delayed rather than instant gratification. Also, this image happened to be the first exposure on the roll, meaning I had to make it through another 11 shots to finish this up and even see this exposure. The notion of first exposures is a worthwhile one to explore. A higher-than-normal percentage of my favourite images tend to be the first or last exposures on a roll because I tend to lend more weight to the making of those photos. For example, I typically don’t load an empty camera, or empty film back, until I have a picture to make. That means when a roll of film does get loaded it is because I have enough of a purpose in mind to motivate me to load film. And the film that gets loaded is being selected for the first image it will be used to make. Along those lines, when I get to the last frame I really try to make that last exposure count. There is no better way to wrap up a roll of film than with an image you are excited about. Another way of approaching this is to go out without any spare rolls of film. I did this on this outing with my two Hasselblad backs, one of which is dedicated to colour and the other to b&w. I opted to not take any extra rolls of colour film with me and that back was on exposure 10, meaning I had only three shots remaining for an entire excursion. It is limiting but scarcity can also place greater value. With only three shots, or by waiting on my first shot of the roll, or the last shot, I am placing a higher-than-normal value on those exposures and because I do so, I tend to enjoy a higher-than-normal success rate with those images.
On October 17th, 18th, and 19th, in celebration of the 40th anniversary of “Heroes”, and in collaboration with Arts Brookfield and WNYC’s New Sounds Live, Jonathan Meiburg, Emily Lee, Sadie Powers, Lucas Oswald, and Josh Halpern (Shearwater and Loma) were the nucleus of an all-star lineup performing Bowie’s entire “Berlin Trilogy” of albums (1979’s Lodger, 1978’s “Heroes”, and 1977’s Low) at the magnificent Winter Garden Atrium at Brookfield Place in lower Manhattan.
Shearwater Manchester Nov 2012
Jonathan and David
Boys keep swinging. Me in my Hometown 1978
Sound and Vision Home 2019
Over the years I have noticed a trend in my photography. To be fair, I notice many trends. It is sort of how I work: I make photos over a long span of time then see where the pictures settle and read them like tea leaves. It gives me a perspective on what I am doing that I don’t have while I am out doing it. But I digress. It is a lot about feeling, mood, perspective or whatever other abstract ideas you want to associate with what guides us through the creative process. I tend to be more in a black and white mood, for lack of better words. I love the simplicity of black and white. It pares the world down a bit to more essential elements. It makes things a bit simpler, a bit quieter… in a way. And that is a big part of what is driving me. I appreciate that simpler rendering.
I think part of it is also the timeless nature of b&w film/images. Colour is date able, by which I mean, you can generally tell when a colour image is made by its palette. The colour films of the 1970s look like the 1970s, just as the colour palettes of today’s images have a distinct look that is temporally anchored. Black and white eschews this dating to some degree. And I appreciate this too. That I am more easily able to make an image that is not anchored to a particular time, because sometimes the image I am making is not about a specific time at all, and if that is the case I don’t want that association to be baked into the photo. If that makes sense. But I do just like the concept of time as this slippery, amorphous, crazy notion of a thing and so if there is a way to set it aside just a bit, to make a photo that isn’t necessarily of a certain place at a certain time but perhaps somewhere sometime, then I enjoy doing that as well.
So there it is, just some of my thoughts hammered out in a bit of a stream-of-consciousness manner.
Callac Lake Jan.2019
One of my photographic interests has been to collect an exposed roll of every type of black and white film. For years I used almost exclusively just Tri-X. And I love Tri-X, but every roll of Tri-X I shot was a roll of some other film I didn’t and asking myself the question what would this look like with another film. I got a bit tired of not having good answers. What are the differences between Delta 400 and Tmax 400? How about Tmax 400 and APX 400? What does that Adox CMS 20 II look like? Or the Copex Rapid film? I think it is true that there is not enough time in the day to use every roll, which is why it has been a project that hopefully will never end. Unfortunately 35mm takes me half of forever. But I have been using my Nikon more and more. I can keep that trusted camera loaded with weird films and have been carrying it with me everywhere, trying to move faster than I normally do but not too fast that I produce a bunch of ho-hum images.
Wood Ducks Home Jan.2019
It is nice when I do finish one of these rolls though. I just got through a roll of the Washi S. It took about a month or so. I also underexposed it a bit because I thought it was ISO 80 when it is really ISO 50. Ooops. But that is ok because the results turned out interestingly enough. Deep shadows, high contrast, no grain. And that is one of the benefits to a project like this, it nudges me in directions I wouldn’t have gone without that nudge. Would I have tried a roll of this out otherwise? I highly doubt it. And hence I wouldn’t have made these images either. Anyway, just thoughts on this ongoing experiment. Now the Nikon is loaded with a roll of Lomography Berlin 400 film.
Susan New Years Eve Mont St. Michel 2018
Tree and Birds Jan 2019
One of those times when an image is so much more proficient than words at communicating my thoughts.
Shadows on rock
Head above water
The pull of the unknown
Huelgoat December 2018
Callac November 2018
The Silence holds with its gloved hand the wild hawks of the mind
Sue and JB – Malvran November 2018
Pink Granite Coast November 2018
Two Dachshunds One Bench Chartres 2018
Laughter And Forgetting
Sue Plusquellec December 2018
These days everybody is a photographer. But the obvious split between taking snaps with a camera phone, or making Photographs with a camera had me wondering about a question that has been asked over and over. “How do I get better at photography, and can I offer some advice?” My response would be, go out and constantly work at it, by making mistakes, learning from those mistakes, teaching yourself and sticking with it through the months and years. Essentially there is no magic solution to getting better, you just have to go out and put in the work. When I started I had lots of questions and I answered most of them myself. Sure, the vast majority of what I learned I did by myself out in one corner of the world or another. I read a lot too. And looked at a lot of photography books. But mostly I was out there with my cameras thinking and exposing.
But there is a trap one can fall into when one reaches a certain point. They can look back at the road they have walked and forget how difficult it was at times, especially in the beginning. One can also easily forget that what might work for you may not work for someone else. For some of us, the best way we learn is out there on our own doing trial and error, but for others the best way they learn is through collaboration or mentoring. Perhaps not everyone has the innate confidence to go out there and fail, perhaps they need to have someone help them learn that confidence. Perhaps for them going out on their own to learn is not the goal, perhaps it is to learn in the company of others. At the same time, memory is a dangerous thing to rely on too much and our memory of our journey from amateur to accomplished is likely glossed over in parts and skewed in others. If you have been making photographs for years and years do you really think you remember what it was like to be a complete beginner? I doubt I do, I would tend to doubt you do as well. But we think we do, and that is where it gets tricky.
We should also remember that we often take different paths through this realm and our destinations are often different as well. This can be tricky to keep in mind, I know, I have to remind myself of this constantly as well.
For Instance whenever I travel to a different city I tend to find one (or two) features of that city and really hone in on them. For example, during my first visit to Paris I spent a lot of time finding every angle of the Eiffel Tower that I could. I find that having something like this to focus on helps me keep an eye out for peculiar angles I might have otherwise missed. Part of that is the process of photographing something you are so intent upon. For example, if my goal is to find as many different perspectives on this building as I can discover, I’ll walk extra lengths around it, or I’ll make sure to keep its location vaguely on my radar so that I’ll glance down every alley that leads off in that direction just in case there is an unexpected view. The goal is not to produce a collection of images of this building, but rather give me something in an unfamiliar city to pay attention to and become familiar with. And when you are a bit adrift in a strange town, visually overwhelmed with trying to figure out how to sort it all out photographically, I find that this technique can help give me solid creative ground to start to work from.
Anyway, just sharing some thoughts.
Damn. Pete Shelley gone. Woke up this morning to Rain and Wind and this very sad news. The Buzzcocks were and are a big part and firm favourite of mine, and I was fortunate to be able to meet with Pete a few times and tell him so.
Pete used to call at our flat in the early 80s at Old Lansdowne Road Didsbury Manchester. One of the girls I shared with was Carole Morley and Pete had a crush on her. Whisked her off to Paris at the drop of a hat. I remember him so well as if it was yesterday. A real Northern Gent. I lost touch through the years and this image is the only one I could find in my archives. I am often amazed that not more get lost through moving house, county, city, country. I remember when I first arrived in Manchester and Homosapien was one of my favourite records. I also recall that XL1 had some sort of floppy disk to use with a Sinclair ZX. The original release was packaged with a computer program which featured lyrics and graphics which displayed in time with the music. Non amazing now, but was a big thing then. Travel on well punk pioneer and ace Mancunian songsmith.
The truth – I have always been afraid. It is a painful feeling, fear. It sits deep in the bottom part of your stomach and hurts. But it is the energy of survival. I have always been afraid of fear and at the same time grateful for it–afraid of its pain and grateful that because of the pain I can take steps to eradicate it by overcoming that which frightens me.
One who is afraid reacts to it as any animal. If one is a rabbit, one runs into one’s hole and hides. If one is a turtle one pulls back into one’s shell. We have all known people who react to their fear in this fashion. Some call them shy. Some, wrongfully, call them cowards.
But some people react to fear as a wolf reacts. We get angry. It is easier to be angry than to be afraid. It is less painful. The frightened wolf attacks whatever frightens him. But it is fear, nevertheless.
Fear has been given to us so that we may recognise that which endangers us in this complex world. To avoid injury of one kind or another we need to recognise the danger, whatever it may be. Fear permits us to ask ourselves: what are we afraid of and to evaluate it. It gives us an opportunity to say to ourselves, we don’t need to be afraid of this person or that situation. It is something we can handle. It gives us an opportunity to understand that the other person may be as afraid of us as we are afraid of them. It gives us a chance to deal with our fear.
Fear is also the stuff of courage. We cannot be brave without fear. One who faces unreasonable danger is not courageous unless that person has first felt fear and overcome it. He is only foolish. I know of no persons who are brave who are not first afraid. So, at last, fear is our friend. Listen to it. It speaks loudly to us. It is not to be ignored. It is to be cherished as our protective partner.
In the end, fear is a gift.