Hannah's Eye
Too much fixed routine seems to be making me feel a little dull at the moment, not enough ideas, no reading, and far too few new experiences. I have in the past mooted so many new projects on here but of course I still have not managed to realise any of them, no time; things have to change. We had a rich and beautiful Autumn this year, much richer colours than last year thanks to relatively static air conditions allowing leaves to remain on trees just that little bit longer and all complimented by clear sky's and bright sun light. I did manage to get some great colour pictures of the village and as ever have endeavoured (with difficulty) to usurp those Cheshire Life angles familiar to all locals. During the Christmas holidays I should be able to at least make a start on some of my new fine print orientated mono work. One of my work colleagues wants me to do some very large close up mono pictures of her eyes in the manner of Man Ray; I don't quite know why? It could be an opportunity for the creation of some interesting images and composite prints though.
I am still working on the mental visualisation of a range of images (or a vocabulary of techniques) that conform to a desire to make abstract representations of the natural world (the dominant theme of my approximate surroundings) and reflect my interest in the spiritualised visions of Minor White. I am never keen to fall into the trap of treating this kind of material in ways that are more akin to Pictorialism though. So no more selenium toning! If it doesn't look sound printed strait on Gallery grade two, its not a thoughtful and expressive photograph.
I am going to do my new Manchester project soon too; the city is a mine of contemporary architecture, and design that makes fantastic subject matter for any photographer with an eye for denaturing their subjects. Also doing some work in London next year so this will provide many opportunities for pictures, I am very fond of the Tate Modern. Hopefully Mark will be coming up North this Christmas, I need the inspiration! Of course, it's always great to get the good old Wood and Partridge team together.
The Peak District National Park (which is virtually on my doorstep) continues to exert its glorious attraction. There are places, views, and general qualities of landscape up there which are outstandingly beautiful and completely unmatched by any other similar terrain in Britain, just a great place to be for getting your head well and truly spaced. It would certainly be interesting to do some grand landscape pictures up there with a plate camera, and particularly in more tempestuous conditions when the combination of high altitude and storm cloud formation can provide ideal conditions for some fantastically dramatic pictures. For me this kind of landscape also embodies a certain sense of intrigue, and primordial energy. It is the closest we have to wildernesses in Britain and consequently becomes a prime location for the technical apparatus of the "secret state" strange installations with ominous connotations.
I am still working on the mental visualisation of a range of images (or a vocabulary of techniques) that conform to a desire to make abstract representations of the natural world (the dominant theme of my approximate surroundings) and reflect my interest in the spiritualised visions of Minor White. I am never keen to fall into the trap of treating this kind of material in ways that are more akin to Pictorialism though. So no more selenium toning! If it doesn't look sound printed strait on Gallery grade two, its not a thoughtful and expressive photograph.
I am going to do my new Manchester project soon too; the city is a mine of contemporary architecture, and design that makes fantastic subject matter for any photographer with an eye for denaturing their subjects. Also doing some work in London next year so this will provide many opportunities for pictures, I am very fond of the Tate Modern. Hopefully Mark will be coming up North this Christmas, I need the inspiration! Of course, it's always great to get the good old Wood and Partridge team together.
The Peak District National Park (which is virtually on my doorstep) continues to exert its glorious attraction. There are places, views, and general qualities of landscape up there which are outstandingly beautiful and completely unmatched by any other similar terrain in Britain, just a great place to be for getting your head well and truly spaced. It would certainly be interesting to do some grand landscape pictures up there with a plate camera, and particularly in more tempestuous conditions when the combination of high altitude and storm cloud formation can provide ideal conditions for some fantastically dramatic pictures. For me this kind of landscape also embodies a certain sense of intrigue, and primordial energy. It is the closest we have to wildernesses in Britain and consequently becomes a prime location for the technical apparatus of the "secret state" strange installations with ominous connotations.
