On Saturday I spent pretty much a whole day in the sprawling city centre. The weather was lovely and it was a very nostalgic trip. Quite close to the railway station is the ‘Site Gallery‘ on Brown Street, which is an international centre for contemporary art. Sadly, even though they often hold photography based exhibitions they were between shows. Also I was disappointed to learn that I  just missed a show of wall drawings by Sol LeWitt, which had been held throughout May. If you get the opportunity to view his work please do so.

From there I wondered up Howard street to the large and impressive ‘Millennium Gallery‘, where I discovered an extensive (and free) show called ‘Watercour in Britain’. This on on until 5th September. Purely as a side issue. When I was a student, a pal of mine was a chap called Geoff Kersey. He is now a watercolourist based in the Peak District.

The breadth of the watercolour exhibition was great and some of the work was exceedingly interesting. Amongst many others, there were watercolours by William Blake (1757-1827), paintings of Sheffield by Herbert Slater (1892-1975) and work by JMW Turner (1775-1851), most notably, for me, was the atmospheric ‘Geneva’ – 1841/2 and ‘Castelli di Cannero on Logo Maggiore from the North’ – 1843. What a cracking show, and from somebody who tended to dismiss the craft of watercolour painting as twee and chocolate box this was an eye opener. Sadly the show ends with examples of work from some local (I think) daubers. Very twee and chocolat box and not needed at all.

As a student in the 70′s I often went to the ‘Graves Gallery‘, which is quite close the ‘The Millennium’. Back then the shows tended to be traditional, although I found some of the permanent collection very good for illustrating drawing and brush technique and how light falls upon objects or people.

By pure chance, in Graves Gallery there was a show of landscape photography by the Fay Godwin (1931 – 2005). Alongside this show and as a comparison, the photography produced by Paul Nash. Nash (1889 – 1946) was primarily known as an English landscape painter, surrealist and official war artist. His photography is less known but important never the less as one can see it’s influence upon his painting.

All in all, I thoroughly enjoyed my trawl around some of the Sheffield galleries. It just goes to show that there is a lot to see out there if you are interested in photography and art in general.

Whilst there, I met up with two old friends, Jane and Jason Thompson of ‘Flower Design UK‘ also in St. Annes. The flower arrangements looked superb (as usual). I’ve posted a few photographs from the wedding below.

The lovely Rebecca

What a lucky chap

Flowers by Flower Design UK

More Flowers by Flower Design UK

A Seaside theme for the flower vases

Quite often I discover to my dismay that a student’s work is not backed-up in three places and filed and meta data’d so it is easily found. But these little tinkers are students and are there to learn, their ignorance can be excused. But what about professional photographers, what about me for that matter. Work and life pressures get in the way and before you know it you are showing images that are not representative of where you are at now. Are they all backed-up correctly? Yes the client got their disc and contacts but you must make sure everything is as safe as safe can be…. and it can be found.

Anyway, for a while now I have been reviewing my portfolio. Too much of what I show to people is stuff that I think they want to see. What does a potential client want to see? I’ve been asking myself far too often. Will they like this sort of work? Will they like me, if I show that sort of image? Too many question marks for my liking. I have rarely craved anybody’s approval in the past. Why start now? From now on I will show what I want to see. What I want to shoot, in the way that I want to shoot it. In the end we all need to make our own choices, and as Wynn Bullock said “I think we have to satisfy ourselves first, because if you take the opinions of others, pretty soon you’ll become totally confused”.

A note to my students here. My comments about self-determination here are targeted at matured photographers who have progressed to the point of knowing good practice from bad, or should do. In other words, they have already had a considerable level of intelligent education and experience.

A portfolio ought to be representative of the photographer’s ideas and conceptual and creative abilities. Craft skills are important but only when these first criteria are met. A portfolio rich in ideas, exploration and evolution will work even if it’s execution is half baked. Despite a weak aesthetic presentation, a person reviewing the book who possesses creative faculty and integrity will positively appreciate the sentiment and soul inherent within the work presented. Furthermore, if this is supported with workbooks containing extensive notes and evolutionary imagery, then surely a truly creative and hard working individual is represented.

Conversely, a portfolio full of technical histrionics and craft virtuosity will appear bloated and devoid of any real creativity. A book of this sort will only represent it’s maker as somebody who misguidedly believes images made using software or darkroom based tricksey jiggery pokery is good work. It isn’t, and the twerps who feel that extreme HDR pictures or photos that are filtered to resemble watercolour paintings is the way to go, then please go, and go far, far from here.

A portfolio that holds well thought out ideas of substance and meaning, photographs that are about something, produced in a considered way, using craft skills that only support the ideas, that do not subvert but illuminate and enhance the thinking behind the creation of the photographs, there is a portfolio that will be impressive. Such a book will communicate the nature of it’s maker and their concerns in an effective manner. This sort of portfolio transcends commerce and may even result in more fulfilling future commissions. Even if it does not, it’s author’s development as a photographer will be accelerated. He or she will become an even more effective image maker, not just a shop keeper. This should be the ambition of any good practitioner.

When your portfolio is ready to be shown to a client or for critique by your peers in an educational or other forum. Listen with great care to any comments made. Your mum will always love your work, no matter how good or bad so ensure that you only show your book to those whose photographic opinions you respect. A colleague of great standing or your teacher would be a good start. Always respect your teacher’s opinion or why seek a photographic education in the first place? Prospective clients or employers may or may not offer you the commission and may reject you on factors other than your portfolio. If they do, understand that your work cannot meet everybody’s requirements. But a portfolio presented using the guidelines suggested above will be a portfolio made by a photographer who is trying to exhibit their best work possible presented in the best way possible.

Where is my work at now? Well, it is in constant flux, driven by my desire to disregard commercial considerations, I am working on different projects of mine. Photography is at it’s best when presented as several images, each functioning as part of a whole. That whole needs to be idea or concept or narrative driven. Also I prefer to keep an emotional distance in time between the camera work and the editing and printing process. Months or years may pass from the exposure to the print. Client led assignments have deadline imperatives and this methodology will not work for commissions. But my concern here, is the development of a portfolio that satisfies me, and nobody else. Below, I have inserted a few images that fall under the remit of my own manifesto.

The next post will discuss the various merits of presentation methods. Such as print quality, paper sizes and types, and portfolio boxes and cases and such. But the most important aspect of what images should constitute an effective portfolio has been covered – in part – here.

But for those who may be even slightly interested, a few weeks ago I attended the National Photography Symposium. Held at the Quad in Derby over two days, this was a get together of photographers to cogitate over matters photographic. Photographers from many fields such as journalism, art, education and advertising. Also curators of galleries and writers on the subject.

Over lunch I got talking to a chap, who when asked which field he worked in said ‘I’m an artist who uses photography’. Now what does that mean? Does a painter say that they are an artist who uses paint? Not all artists are photographers and I’m certain (utterly certain) that not all photographers are artists. Some photographs are works of art, but no photographer is an artist. Unless of course they use the term to make their work more marketable. And usually marketed to people who people who wouldn’t know art even if it bit them on the art.

The keynote speaker was Francis Hodgson, who writes on photography for the Financial Times and is also the chairman for the panel of  jurors for the photographic competition, the Prix Pictet. Now, unlike most out there, Hodgson is a chap who is worth listening to. The work shown as part of the Prix Pictet is work that, in some way highlights environmental sustainability. Previous winners have been Benoit Aquin and Nadav Kandar. Click the link above for more information - as there is much thought provoking material. High quality photography about real issues.

What a fantastic age to be 18

One of the things I love about being a photographer is being able to create gifts for close friends and for those I love. To give is far more rewarding than to receive. So when we were invited to celebrate the milestone 18th birthday of a dear friend of ours, we jumped at the chance, not only to paaartay (rarely do we miss the opportunity to do that) but also to make some photos for the birthday boy’s parents. Jo and I will get something else for this young dude.

James, the birthday boy, is a young man who is one of the most positive and jolly people I have ever met. He possesses an unendingly sunny disposition, although I’m sure his parents, Liz and Kim may correct me on that. Anyway, James brightens up any get together and is a bit of a party animal. James is also a young man with a disability.

James at his most thoughtful

As usual James cracks-up at something or other

Unless it is for PR, Sport or documentary, think of the images of Japanese,mercury poisoned children made by W. Eugene Smith, rarely do we see portraits of people with disabilities. Yes the families will take photographs themselves on occasion and proudly present these snaps above a fireplace, as they would any other family member. But it is unusual to see professionally produced portraits of the disabled. In fact although I have made many portraits of many people over many years, I don’t believe I have been commissioned to create an image of a disabled person, other than for commercial purposes, not for the joy of the family. And I’m unsure why.

Anyway, Happy Birthday James. I’m certain that your life will be full of rewards, joy and laughter.

From the mid-70′s, and running for twenty years, Paul Hill and his wife Angela established at their home in Derbyshire the legendary ‘Photographers’ Place’. Here dedicated photographers would become immersed in their subject, eating, drinking and breathing photography. Important figures such as Andre Kertesz and Ralph Gibson were invited to give talks and run workshops.

The original ‘Photographers’ Place lasted for just twenty years, but now it has been reborn, and with great success it seems, as the first weekend workshop in April filled up with delegates very quickly. The next has been orgainsed for the 4th to 6th of June at Ilam Hall on the Derbyshire – Staffordshire border. This time the photographer and teacher, John Blakemore will discuss ideas and aesthetics.

A third workshop has been planned for September, with the photographer Brian Griffin talking about environmental portraiture. Brian Griffin has recently been commissioned by the National Portrait Gallery and British Telecom to produce a series of portraits for the 2012 Olympics. It makes a change to hear about real workshops by real photographers.

The photographer’s place teachers – Martin Shakeshaft, Nick Lockett and Paul Hill

As an aside, whilst on the MA course, I was teaching photography full time in Blackburn. After teaching a full Tuesday I also taught a Tuesday night class. I usually returned home from this evening class around 10.30pm. On Wednesday morning I was up at 4.00am to catch the 5.00am train from Lytham to Leicester. After three connections, I arrived in Leicester at about 11.00am, with an hour or so to kill before my afternoon studies started.

At the end of the day I would catch the 5.30pm return train home. British Rail passengers were going through a bit of a tough time during this period, as most trains were running slowly due to a crisis over the Hatfield train crash, it had something to do with metal fatigue on the tracks I think. Anyway my line, the West Coast line was one of the worst, with the result being a return home about 1.00am (thursday). My teaching commitment re-commenced then at 9.00am, Thursday morning. I used these many train hours to study and when finally arriving at the university I went to their library.

I went through this for an entire year. In year two I bought myself a car. I tell you this as I know some of my students will read it. There is a message here for a few of the younger ones who habitually arrive late to my classes. If an old geezer like me can get up early to do what is needed then so can anybody.

To conclude, I thoroughly enjoyed my time achieving my Masters Degree, and coming to the academic environment from a purely commercial (in a photographic sense) one. I found it re-invigorated and enriched my own practice. Now, as a full-time professional and a part time teacher, I have more confidence in my own work and ability. I know good (and mediocre) imagery when I see it and hopefully I can pass this on to my own students. Now which train is it to Derbyshire.

The private view, on the 3rd March was very busy, the most attended view the gallery has ever had apparently. Here I’ve posted a few pictures of guests enjoying themselves. Some, a little too much.My mates Debbie and Mark Fox and that lovely chap Michael Turner (great portrait photographer).

If you are not a photographer professional social photography is an industry based around weddings, family portraits and such.

Most, but not all of these ‘professionals’ tend to be drawn to photography  through equipment fetishism. Big camera this, big lens that. Some of these people then develop enough basic craft skills to earn money. The enjoyment of making images (and money) is then encouraged and furthered by the  national photographic institutions, the qualification process and manufacturers and allied services.

Our photographer, let’s call him or her, Sam, becomes a slavish follower of trends. Trends that are established by those with a bit more foresight and business acumen than Sam. In recent years these trends have included, in portraiture, white backgrounds and garish colours and, in weddings, reportagedocumentaryphoto-journalism (all one word) wedding photography thingee. Perhaps in black and white (because the client thinks it’s a bit trendy and modern) but now more in colour. Do we go formal or informal – a bit candid? I know, let’s try a bit of ‘strobist’ off camera flash. Sam follows but never instigates these trends and looks to others for ways of producing images.

Along the way though, there is a foundational and fundamental part of Sam’s development as a photographer missing. Sam is not learning about what came before, and aside from a very narrow contemporary corridor of interest (brides and babies) is missing out on hundreds of years of artistic practice and discourse, all of which could have a profound effect upon how today’s (social) photographic imagery looks and is considered. This awareness will not have a negative effect upon industry and profit.  This new found interest could enrich Sam’s photography. It will point the way of good practice and even introduce an element of gravitas.

Sam has invested a lot of time, energy and finance in establishing his business. He knows how to get things in focus, knows about exposure. He can utilise photoshop to twiddle, fiddle and faff with his images. He has joined the BIPP, the MPA and SWPP. Sam enters competitions and walks away with plaudits galore. He markets his successes aggressively. But although he knows all about unique selling points he misses the point of making his pictures unique to him and could be selling more. 

An important issue here is that Sam, with the help of the institutions and networking groups, becomes a business person. He becomes better at making the pictures and marketing, his client base and income grows. Sam becomes better qualified and as a result achieves respect amongst his peers. I feel that this is a great thing for Sam and the industry. I’m all for capitalism. It is a honourable endeavour. Money and industry keeps the world turning and drives human society.

Sam could be a plumber, a builder, a green grocer. Sam is not a creative person. Sam will say to the client that they are an artist, that their work is highly creative, look, here are the awards and certificates to prove it. But this is just marketing and transparent marketing at that. Deep down Sam knows he isn’t creative or in any way artistic, but Sam secretly would love to be so. When at an industry event with all the other Sams, he will say that when he feels a bout of creativity coming on, he will lie down until it goes away. And they will all laugh at the pretentiousness of those that are truly creative. As though creativity can damage profit. Deepening the contextual knowledge of photography is a duty of all intelligent practitioners. Sam can still market his business, he can still enter the competitions. But with a little re-education he could achieve even greater respect  from his peers and greater profit. 

 As it is at present many will say ‘let Sam be what he is’. Hi is a tradesman, there is no dishonour, no indignity. But unless he adds those foundations, don’t believe him when he says he is creative. He cannot make anything other than pretty pictures. Pretty pictures are great up to a point, they will elicit an emotional response from the client, there are tears of joy. This is wonderful for the client, they will go home with pictures that they love. They will recommend Sam to all of their friends. Sam’s bank balance will be improved. But are the photographs distinctive or even good. It is highly unlikely. 

To even begin to create a photograph that is more than aesthetic superficiality, Sam must learn, in depth, the reasoning behind artistic endeavour. The why’s and wherefore’s of the history of photography and of art itself.  You never know, Sam may become a superior photographer because of this education. Sam’s clients may not evaporate. Sam may find new markets and a greater love for his profession. And in the end, photography itself would benefit from all of those new and improved Sams out there.

For those Sams with the wit to want to create fresh work I have added a short reading list to initiate your education. Listen to the creative thinkers and escape the shackles of imitation.

Ways of Seeing                                Author: John Berger                                                                                                        Publisher: Penguin                                                            ISBN: 0-14-013515-4

On Photography                             Author: Susan Sontag                                                                                                     Publisher: Penguin                                                              ISBN: 0-14-118716-6

On Being a Photographer            Author: David Hurn & Bill Jay                                                                        Publisher: Lenswork                                                           ISBN: 1-888803-06-1

The History of Photography        Author: Beaumont Newhall                                                                               Publisher: Bulfinch Press/Little, Brown and Co.         ISBN: 0-87070-381-1

Superb light down an alley, just off St Annes Square, Manchester

After a great lunch and a pint or two in Sam’s Chop House we went to Manchester Art Gallery – http://www.manchestergalleries.org/. This is always worth a visit. We had a look at “Facing East – Recent Works from China, India and Japan from the Frank Cohen Collection”. Also, like the naughty schoolboys that we are, we had a quiet giggle at Ron Mueck’s highly detailed surreal, out of scale sculptures. If you have children these two shows are a must and are on until mid april. Check-out the their website for details.

Chinese herbal medicines

A small scale pub crawl ensued.  A stroll through China Town brought us to my favourite pub of the night ‘The Circus Tavern’. Now I’m in no way a real ale fan. More of a lager boy me. All British beers that I have tried have tasted like fairy liquid, ugh. But this place is a real gem. This is what Camra say about it:

The Circus Tavern 
86 Portland Street, Manchester. Tel: 0161-236 5818. 
Reputedly, this is the smallest pub in Manchester, and has one of the smallest bars in Britain. Small, unsophisticated, little changed since its earliest days. Built around 1790, when Portland Street attracted performers, travelling entertainers and artists due to the nearby Circus at Chatham Street – hence the name of the pub. No food or music. An authentic “old” early 19th century pub, where atmosphere, good ales and conversation are the order of the day.

The Circus Tavern. Warm inside, cold and wet out.

From there we went for a curry, home by train…. Sore head by morning.

The new Nikkor AFS 24mm f1.4 G ED lens

I was pleased to hear Nikon announcing the release of their 24mm f1.4 wide angle lens. Does this mean they will now produce a range of fast lenses? Nikon’s main competitor produce some really wide aperture lenses, such as the auto-focus 50mm f1.2 and the 85mm f1.2. Although in my opinion these two lenses are poor performers at maximum aperture.

For many years now I have regularly used the Nikon 85mm f1.4 AIS (manual focus) as I love the creamy out of focus quality of images produced by this lens. It’s rare that I use this lens at a smaller aperture than f1.4 and have always been pleased with the superb control of contrast, vignetting and corner sharpness.

Much of my imagery is created using available light, and fast lenses are vital at allowing more shooting opportunities without compromise. I can use lower iso settings and achieve the shallow depth of field that I almost always aim for, especially in portraiture. Many Nikon lenses have a maximum aperture of F2.8 and these can out perform most other SLR competitor lenses. I often hear that f2.8 is a large aperture, it is not. A fast aperture is at least f1.4. This and larger is, for a professional very important.

Optically, the best lenses out there are Zeiss. Many of these are made with little compromise. Luckily Zeiss manufacture a range of manual focus lenses that will fit Nikon cameras. Much of my personal work is produced using a Carl Zeiss lens and this is on a Contax camera. Now there was a company that could make great equipment. Never bettered for optics and arguably rangefinder cameras.

What Nikon professional photographers now need is auto-focus f1.2, 50mm and 85mm lenses. Nikon make the most useful DSLR cameras out there. Nikon make the best strobe system and some of the most useful lenses. Please, if you are listening, add to this some truly fast optics.