I’m pleased to announce my second exhibition of 2015: The Idea of Man, which runs from October 2-31 at the Rangefinder Gallery at Tamarkin Camera, Chicago. Though the previously intended book didn’t happen (yet, we’re working on it) – a good selection of the images will make it into this exhibition as Ultraprints, which will be for sale in a limited run of 10 per image.
The next two images on offer are from Venice; after a decent amount of sitting time, the proofs are definitely something that I’d like to have on my own wall. Motion at rest is a study in contrasts between hard and soft light and forms; it is identifiably Venice without being a cliche. Venetian Cinematics 2 is all about the red umbrella: that transient instant of passing a stranger in a rainy alleyway where you perhaps register their presence but not at a particularly conscious level; later on you may stop and wonder what might have been. It is in essence the intrigue of the city at the human level.
Read on for more information and to order. I’ve also got a Hanoi Cinematic Masterclass (21-26 July inclusive) which is open for registration – click here to book and for more information.
After a surprising number of enquiries about this image, I’ve decided to offer it as a print in a limited run of 20 12×12″ Ultraprints, and 10 20×20″ versions. As with all previous prints, they will be printed by printmaster Wesley Wong, personally checked and QC’d by me and accompanied by a certificate of authenticity. Both prints are on a matte fine art fiber paper – Permajet Portrait White 285 – which we have found after much experimentation to have the best blend of density, gamut, detail differentiation and transparent tonality. You can read more about the rationale behind Ultraprinting here and a view a comparison to a regular print here.
I’ve wanted to present a book for a while, because I agree with these who’ve suggested in the past it’s an excellent way of presenting a set in a controlled and curated way – but have always held off for a couple of reasons; firstly, the work I want to present wasn’t finished enough to form a complete idea; secondly, there are challenges associated with economics, distribution, quality, etc. I thought I found a good enough solution…until the proofs arrived, and all of those things crashed back down to earth. So instead I’m going to offer you an apology.
Forest IV, Selangor, Malaysia. 57×22″ (145x56cm) printed area – Ultraprint on Permajet Portrait White matte cotton paper; $1,600 including DHL shipping anywhere in the world. Limited edition of 10 prints, never to be printed again at this size. Click on to order… [Read more…]
Sometimes – quite frequently, actually – I fin myself on an aircraft with not very much to do. I fly often enough and spend enough time in the air that I’m one of those people who will bother to try and find out the flight route in advance and pick the seat most conducive to photography on arrival or departure – assuming of course there isn’t an engine or wing in the way*. I’ve gotten some very satisfying images this way.
*Frequent travelers will know there’s always a tradeoff: the front of economy is usually blocked; the rear usually is noisy and has a lot of traffic en-route to galleys and toilets, and the view isn’t always clear because of the convection visible due to the engine exhaust heat. Or, you fly up front and land up bankrupt.
Welcome to the second instalment of the Conversations between myself and Lloyd Chambers of the excellent site Diglloyd: today, we’re talking about printing. Background: in September, we managed to shoot together for a day at the Purisima Creek redwoods – the image above is the print we’re referring to and one I made that afternoon, and the location is one that’s familiar to Lloyd. It was my first time there. Following feedback from the first instalment, we’ve edited the conversation to make it a little more readable; again it will be posted on both our sites.
I was discussing printmaking with one of the regulars readers of this site recently when a thought struck me: one of the biggest turning points for me personally was when I started shooting with an eventual printability objective for all of my images. This happened around early 2012, before which I’d felt I was stagnating creatively somewhat – perhaps partially due to day job commitments (this was before I turned to photography full time) and partially because well, I didn’t have an output objective.