Feeling

An interview with Ian Howorth

 

Effortlessly slipping between beautifully cinematic portraits and a quiet documentary style view of the everyday.  Brighton based photographer Ian Howorth’s work suggest still stories that evoke the subtle characteristics of the past.

• Ian, tell me a bit about you? 

I’m a photographer/aspiring DP living in Brighton

• How did you come to photography?

I arrived at it by chance really - having been doing video for years, I became frustrated at the time it took to get a project off the ground. A friend asked me to shoot an event for him at a time I was going through a particularly difficult break-up and it slowly matured from there.

• When I first came across your work it was your portraiture that captured my attention. For me, they are created scenes floating somewhere between cinema and documentary. Can you tell me a bit about your portraits and what portraiture means to you?

Yeah, that sounds about accurate! I just like feeling, and for my images to evoke a response from within themselves rather than through added text. It's no surprise for me to say that I have a preference for nostalgia - I simply prefer the aesthetic, but there’s also a story here.

• I'm guessing that cinema has had a big influence on you, how does it affect your photography?

Yes, a huge amount! For me, Cinema is still the pinnacle of image making - creating a visual aesthetic to match a story or idea or emotion. Photography, however, is different, you’re having to tell your story through individual frames - so sometimes they can feel contrived - cramming too much in and be too literal or leaving things out and make them too vague. That’s the challenge though and looking back, also the fun. You never really stop learning and adapting as you change.

• Your urban landscape work has a melancholic feeling, a kind of celebration of disused spaces and objects with a compelling retro aesthetic. What attracts you to these places and settings?

I think it's that in itself. Where I live there are loads of places that celebrate the retro aesthetic through mimicking the vintage look... - I have no interest in that. For me, to find a place of interest, it has to be very much without ‘irony’ - it has to be of the time. If it's old or dated it's because it's been kept that way due to its aesthetic merit or because it's simply been forgotten about. These places are getting harder and harder to find due to our rampant modernisation. For me photography has become much more than simply a finished product - it has become a way by which I can understand things better - the place I live, the people I meet but also about myself and my commitment to doing what I love to do.

• In your series Three Lions, I can see an alternative sort of anti-charming view of England’s south coast, what was the foundation of this series for you?

Haha, that's a very good observation. To be honest there is no easy answer for this - the world is full of beauty but it's also full of crap, and both deserve to have their time in the sun. Things are what they are, whether we photograph them or not, is almost irrelevant - that doesn’t stop them from existing, the difference is only that some of us chose to document them. Gosh, that almost sounds like I’m being defensive! I have felt like an outsider the majority of my life after having moved from place to place during my formative years, so I’ve always been drawn to isolation and places where you can get almost lost and totally consumed by. England is somewhere I’ve been visiting since a young age, and I still very much feel like an outsider looking in - I still don’t feel like it's in my blood - I’m still trying to figure it all out.

• You photograph with film, what is it about analogue photography that suits you and your work?

Initially, it was an experiment - I wasn’t sure what to expect, or the reason why I was experimenting. Two and a half years on, I find that I like the fact that each film stock is reasonably definitive in its look. With digital, I was finding that I never really knew what my edits were meant to wind up like - there was no context. With film, each stock has its own personality and I found I was happy to relinquish my control over to whatever film stock I chose. I realised that to do that fully, I would have to shoot everything to eventually settle on something for a specific look I was going for. It's very difficult to talk about in an objective way - saying you choose something over something else, is almost an indirect way of saying it's better. It can be read that way at least. Film has a vibe - it's something I’ve come to expect now after staring at scans thousands of times. - it has certain “fullness" to it and gentle softness that I think is unmatched by digital. For now.

• Do you have a favourite camera and lens combination or even film stock?

No, no favourites - they each serve their purpose. The Mamiya 7 and 80mm f/4 is the one that impresses me the most whenever I get my negatives back though!

• Which photographers have inspired and influenced you?

William Christenberry for his unabated commitment to documenting his hometown, Gregory Crewdson for instilling in me ‘the concept’, Harry Gruyaert and Joel Meyerowitz for their beautiful use of colour and simply ‘knowing’ the value of emotion in light.

• Finally, what or where would be your dream location?

I’ve always thought its the US, but now I realise that everywhere has the potential, you just need a good idea, and lots and lots of time to come up with it.

If you want to see more of Ian's work you can follow his gallery on Instagram at ihoworth or visit his website at www.ihoworth.com

© All Rights Reserved | Ian Howorth 2018

Monday Morning Special

I was really pleased to have my photo Café Portrait of Rosie Gregory picked for the weekly feature 'Monday Morning Special' of Italian photography website ISO400.

It's a brilliant website that's dedicated to all things analogue. There's plenty of great film photography to look at along with insightful articles featuring many excellent photographers; well worth a visit at iso400.it

Hasselblad 500c/m | Kodak Portra 400

Portraits of Employees, Deceased, Left, Retired.

An Interview with matt Peers

Birmingham based photographer Matt Peers' series, Portraits of Employees, Deceased, Left, Retired portrays the shared spaces of a working factory in north Birmingham. In it, he explores what it means ‘to go to work' in a post-industrial north Birmingham and the fast disappearing traditional workplaces that are being replaced by an ever-expanding service economy, especially in England's industrial heartland. I wanted to know more about the project and his photographic influences and so I recently asked him some questions.

• Hi Matt, tell me a bit about you?

I think if you looked up Average Joe in the Dictionary you'd find me there. I've the full 2.4 nuclear family and the hair and waistline to prove it. For the times I'm not thinking about or actively practising photography, I'm an IT Project Manager at the local University.

• What first sparked your interest in photography?

For me, my interest has been a long history of lost time and opportunities. When I was 11 I got a 110 camera kit for Christmas and I remember being consistently complimented for having a 'good eye' by the grown ups I showed my pictures to. Naively, I thought that was just a skill, like bowling a cricket ball or kicking with my left foot, that I could pick up and put down when I wanted. My interest would pique when I went on holiday, but then wane again till the next trip. In the days pre digital and social media a work colleague even purchased some of my holiday pictures, but it still didn't occur to me take it further. Then, in my mid 30s two significant events happened; becoming a parent and studying for a degree in Psychology. Becoming a parent meant that I had my camera with me all the time; allowing me to practice and to get to grips with the more technical side of the camera. It was the degree course, however, that really opened my mind as to how photography can explore the big questions - in particular the relationship between the individual and their environment.

• How did you come to shoot this series?

It was very close to one of the University campus buildings that I would regularly walk past, often wondering what was going on inside. Next to a brutalist ex polytechnic building, it looked like a relic from the industrial past. At certain times of the day plumes of steam would rise from its roof leaving a strong chemical odour in the air, and for me that just added to the whole mystery of the place.  One afternoon I decided that if I don't go in and ask I'll never find out. I thought there would be a number of reasons why they'd say no - Health & Safety, the need of supervision, not interested, etc, but to my surprise the Managing Director was very supportive of the idea of allowing myself and a colleague and fellow photographer inside to document the interiors for a potential project. On their initial viewing many people thought the project was about an abandoned factory, but I think its state of disrepair is symbolic of manufacturing in the Midlands and the country as a whole.  

• I’m interested in what you say about it being symbolic of manufacturing in this country, can you elaborate a little on your thoughts and how it affected the series?

The onset of ever expanding automation, 3D printing, our nations trading relationship with its immediate neighbours all contribute to an uncertain future, but when you consider the decades of employment this factory has supported, the place of work and the role as employee has radically changed. We now have a service based economy with its identical retail, distribution and call centres, hot desks and anonymous non person specific workstations. The boundaries of the working environment have come down - employees can be uprooted to their home, to the café; to wherever the unit of activity can be completed. Apprenticeships, working our way up the ladder, a job for life, security, an industrial fortnight, the coach trip to the coast with work, the Christmas do, the carriage clock and the retirement party...most, if not all are now consigned to the past. These images, I hope, act as visual reminders of human life existing within a declining industrial landscape. 

• How soon after you walked in did you realise that you had found a special place?

The reality was far better than my imagination! I don't have a very good poker face so I must have looked like a kid  in a sweet shop. For quite some time the employees were utterly bemused as to why on earth I was photographing their workplace with such a gleeful look.

• Did you shoot the entire set in one visit or did you return?

I'm grateful to say I was allowed to return regularly for over a year, which enabled me to take my time and explore a number of ideas.

• For me, there is a melancholic feeling expressed in the tired personal items worn signs but especially in the faded photos of staff. What were your feelings when you were in the factory - did you see a theme right away or did a story emerge after you shot the photos?

Initially I thought the project would be about environmental portraits of existing staff in their workplace and how it has shifted over time; but the more I visited  the more it became apparent it was about echoes of the past and the lives spent there that needed to be explored. Then, on one visit, I found a Kodak box of portraits of employees from the 1940s. Marked in biro on the lid was  'Portraits of Employees, Deceased, Left, Retired'. It was like a sign from on high as to the project's name and direction.

• Can you tell me about how you approach a shot, what attracts you to a scene or place?

What I'm looking for are places and occasions where juxtapositions to a notion of the social norm may appear; a chance to find the incongruous within a scene and, ultimately, I hope, striking a chord with the viewer. Light is incredibly important, as the meaning and the emotional response to an image can change dramatically depending on the type of light available.

• I notice on your website that you have several photo series, for example, The Future's Bright and the excellent Bourke's Regulars. Can you tell me how important is a series or project, as opposed to a single image, is to you and why?

I think it is really important to produce bodies of work within a project, as the framework of a project allows you to continually ask questions of your ideas and the images you're creating. For individual images to stand out they have to make an impact, whereas the narrative and mood of a project can be built through sequencing more subtle, less 'immediate' images. The attention grabbing, quick turn over demands of social media favours immediately arresting single images as opposed to presenting a wider project. Don't get me wrong, I still take plenty of individual images for their aesthetic qualities, but my natural instinct is to create a narrative structure where ever possible, even if that is through a short monograph or a brief blog. 

• Can you tell me about your plans for your next project?

I'm continuing to work on two projects - The Future's Bright and From Around These Parts. The Future's Bright is an exploration of the notion of how we are living the reality of an imagined future of the past. I'm a child of the 1970s and I remember how the advances in technology would be addressing the social and personal ills of the day...but the reality is a muddle between this imagined future and the mundanity of everyday life. From Around These Parts, is an ongoing social portrait project where, regardless of national or local identity, we were both from around these parts.

• Which photographers have inspired you most?

I'm a big photobook collector, so I will regularly look at Harry Callahan, Elliot Erwitt, Bruce Davidson, Joel Sternfeld and Joel Meyerowitz. In contemporary photography, I'm a huge fan of the work of Alec Soth, Sian Davey, Niall McDiarmid and Matt Stuart. It's not just the known names though, I get daily inspiration and motivation from so many fellow photographers that I follow on social media too.

 

• Finally, if you could spend a couple of weeks anywhere in the world to shoot a project, where and what would you like to shoot?

So many places and so little time...but I think it would have to be a tour of the former Soviet Bloc to explore the brutalist architecture from the Communist era. I'd have to knock on a few doors to see what's on the inside, of course…

Matt Peers' photographic study represents an increasingly rare insight into a type of workplace that is evaporating fast in modern Britains increasing service oriented economy and a valuable piece of documentary photography. You can see more of Matt's work on his website at

© All Rights Reserved | Matt Peers 2018

New Developments

Using Kodak TMAX Developer

 

SDIM1836 copy.jpg

Until recently, I developed my black and white film using Paranol S a one shot Rodinal type developer by Tetenal. I’ve developed Neopan, Tri-x, TMAX, FP4 and even Ferrania P30 with Paranol S and up until recently never had any issues. A few rolls ago something strange happened, my negatives developed very thin with barely any image on the celluloid. Thin negatives could be caused by underexposure, expired, contaminated or incorrectly mixed concentrate. Cold developer or insufficient agitation could also account for the problem. Although I felt confident that none of these factors was an issue, I could not be sure as I developed the film in my usual robotic way and was not expecting anything unusual to happen. So I decided to try one more roll, this time paying attention to make absolutely sure I did everything correctly. This third roll came out even thinner, almost transparent.

Not wanting to risk using that bottle Paranol S anymore and as I now mostly shoot TMAX films this presented me with a good opportunity to try Kodak TMAX Developer.  Easy to use the 1 litre liquid concentrate is meant for dilution at 1:4 making 5 litres of working solution in total. Each 1 litre mixed batch develops up to 12 rolls, with extended development times as needed or 6 month shelf-life, whichever comes soonest.  This is not intended as a review of the developer itself more a report of my initial findings using it. To me, the first results appear to have a wider tonal range with better shadow and grain detail.  I guess this should be unsurprising as it has been optimised for TMAX films but nevertheless, it feels like a progressive improvement over Paranol S. Probably the real test is trying it on other film stocks?

 

All photos shot with a CONTAX RTS II and Zeiss Distagon 28mm ƒ2.8 on 35mm Kodak TMAX400.

• Developed for 6:45 minutes at 20ºC with continuous inversions for the first 15 seconds and 5 inversions every 30 seconds thereafter.

• Stop with Kodak Professional Stop for 30 seconds at 20ºC 

• Fix with Kodak Professional TMAX Fixer for 5 minutes at room temperature

• Wash for 10 minutes

Scanned on Epson V500

Engraving Time

Interview with French analogue photographer Dominique Conil 

FIRST PUBLISHED on Photo/Foto Magazine.

• Dominique, tell me a bit about you? I'm 44, I live in Paris, where I work in a video game studio, and in my free time I enjoy exploring film photography through personal projects, or most of the time day-to-day photography.

• How and when did you discover photography? I had a first insight through the story of my grandfather, during WWII he was an aerial photographer in the French army, the image of the plane in which he flew hanging on the wall impressed me much. As a child I also keep vivid and joyful memories of these family slides show sessions my father used to do for us, my family would gather around the projector and every slide was an occasion to remember some good times. That could be the purpose of a whole evening. Later on, I experienced my first shooting with my his Pentax reflex and started a long life passion.

• Why photography? I love a lot of things in photography, most important of which is this possibility of engraving time, like small little pieces of time, memories you can contemplate, I enjoy this feeling when you look at a picture and you can feel again the moment. With photography I can fight the passage of time, I guess.  I also like the truth in photography, I mean it's the reflection of reality. Of course you can always alter it through various processes, experiments or choices like black and white vs colours, whatever is the artistic touch, this is still is a testimony of reality. Another reason is because I love the light, how it falls around and changes things and atmosphere at every moment, and photography allows us to see it, to seize this.

 • A lot of your work is portraiture, what does a photographic portrait mean to you and why do you like shooting people? I like portraits, that's the most difficult exercise for me, like a challenge, and I like to shoot people I know, it's like a conversation, a special moment we share.

• I notice that in many of your portraits there is a subtle indirectness. Often your subject is looking away from the lens or have their back to your camera. Sometimes you portray only body parts such as legs and shoulders. Can you tell me a bit your approach to portraiture? That's right I have an indirect way to take portraits, I like details, because that's the way I guess I look at people, often I focus on a detail, something which catches my eyes, and often I remember people that way, some details about them, some simple things like the way they stand or sit, or a ray of light on a shoulder, or a delicate roundness of a body, I like shooting details, not showing all, just like a hint.

• In addition to shooting people a lot of your work features vignettes of daily life, corners of rooms and the details of ordinary objects, as exemplified in your series, Daily small wonderings. What attracts you to these subjects? There again it's the urge to keep memories of anything that moves me, and because I like simple photography, just what I see before my eyes at moments, I like to shoot life. I'm not really interested in very elaborated staged photography, even if I do admire it in other's photographs. 

• I’m really interested in your crossover collaborative project, Dessine-moi un tattoo, can you tell me more about it? This is an ongoing project, keeping the skin as our main common thread I've asked Regis de Changy, a Bic pen artist to draw on some of my prints. He is specialised in tattoo-like drawings using Bic pens and I found interested to give like a second life to some of my nude photographs, we also wrote some prose to accompany our mixed "Bic-prints", that's a duo poetic work, I wish I could do more collaborative projects like this.

• I see that you are an analogue photographer, has this always been the case and why do you choose to shoot film? I love film, I love grain. I love to take time. I love to wait for my negatives to be developed, sometimes one year after shooting. I love to be in a darkroom. I haven't shot anything but film for years. I wish to be able to keep it this way on and on :)

• You fluently go from colour to black and white, but do you have a preference? I'm a black and white film photography person, that's my favourite colour :) plus, I'm monomaniac with Tri-X, I love this film, the special grain and contrast which I enhance in the darkroom, I can rush through Paris hunting for a sole Tri-X film if any, but I sometimes enjoy switching with colours from time to time, like a breathing, which always surprises me. I guess I tend to shoot in a black and white way even in colours.

• Do you develop and/or scan your own work, if you do why? I develop every black and white film myself at home. I use Rodinal chemistry. I like that part of the process, it's inseparable from my pleasure at taking views, it's a whole thing, depending on how I shoot I then develop accordingly. I send my colour films to a lab in Paris and then I scan all my negatives myself using an Epson v600. I like to be able to control all the process in black and white, I'm still learning and I like that.

• Do you enjoy photographic experimentation? All my colours photographs are shot on expired films, mainly because I like the versatile happening on the colours, it's like a playground, I use it sometimes, just to test things, but I 'am more driven by black and white results :) 

• Which photographers have inspired and influenced you? I like William Eggleston, Sally Mann, Raymond Depardon, Sarah Moon, Martin Parr and many others ...

© All Rights Reserved | Dominque Conil 2017

Portland Street

This summer I went to Manchester twice in one month, on my first visit I spotted an area in the city centre just off of Portland Street and thought it would make a good photographic location. The area was a mix of Victorian brick passages and arches beside a 1960s office complex, a perfect urban landscape, maybe? So on my second visit not only did I bring a camera I asked my friend Paul Turner who lives nearby out for a beer-and-shoot.  After, we chatted about how an area is worked by two individual photographers and how interesting it would be to compare our photos; especially as Paul shot digitally and I used film. It was from this discussion that I asked if he would like to write about the subject for this blog post.

 

Hasselblad 500c/m | Kodak Portra 400

The Difference by Paul Turner

After a bite, we headed out to a place in the city centre as a starting point and we both happily wandered around exploring angles, shapes and colours, the kind of stuff that gets us photographers fired up. When out and about you can't help but see similar options for shots and there was some overlap on what we noticed, this is a big part of the pull of going out with someone else, you can both pool ideas and two pairs of eyes are always better. 

 Despite occasionally becoming separated, we did, in the course of the evening, pounce on the same opportunities for compositions. Things and places often present themselves as gifts in condition and framing. Consequently, we ended up with a small number of the same images. Well, I say the same image, not strictly the case because Tom was using his trusty Hassleblad with 80mm lens, so, 6x6 square, and I was using my full frame Nikon D750 and so 35mm format.

The images are going to differ slightly of course, but in what way and why? Well, the framing was very similar indeed but what struck me about the difference was that often debated one between film and digital, the framing difference was there but almost incidental. The difference in how each medium reacted was the most noteworthy. 

Nikon D750 | Sigma Art ƒ2 24-35mm

Nikon D750 | Sigma Art ƒ2 24-35mm

Hasselblad 500c/m | Kodak Portra 400

For the purposes of this piece I am only going to be talking about the direct comparison of these shots because the whole subject is huge, the idea of comparing these images came about after a discussion between the two of us. It isn't often that you can directly compare a set of film and digital images taken at the same time, so this seemed like an ideal opportunity. I'm not going to be talking about mono film/digital or anything like that. It is purely about these images and to that end it is interesting to see the shots side by side as a comparison...

The first thing that struck me, and I have noticed it in the past when looking at film alongside digital, is the way in which film can render point light sources; it is much gentler and more natural; I think it is more as the eye sees light sources because of the diffusion. Digital, on the other hand, is clinical in its treatment of point light and star points can usually be seen, depending on aperture type and setting. Nevertheless, in order to get light to behave more as the eye sees it with digital, it requires a bit of processing to tame that sharpness in the original file, this isn't an easy thing to pull off and can look forced and unnatural. I don't bother usually, just accept it as it is. Film on the other hand just does its thing and light has a soft transition from source. It pours out and exudes in a lovely smooth glow. Contrast is also worth looking at too. Film has less of it in the case of these images, but I am so used to seeing film it looks right, well, it looks filmic. I'm searching for a word but only filmic fits. Maybe that's it then. It just has its own quality and we should just leave it at that? Rather than trying to emulate it? No we, it seems, are always trying to emulate it. Whether it is a preset as a digital setting or an Instagram/phone widget we are always trying to get it 'filmic'.

Nikon D750 | Nikkor ƒ1.8G 50mm    •    Hasselblad 500c/m | Kodak Portra 400

Despite all the above, digital images are clean, they are able to show a large degree of dynamic range and detail with little loss in quality throughout, thus scenes are rendered accurately and if handled in a balanced way, a clear depiction of the place. They are a superb starting point for any rendering, whether needing a filmic look or not we have a great representation of a place and its lighting condition(s) complete with large dynamic adjustment potential, provided the original exposure is done correctly. Is it as it was seen by the eye while there? Well, it's a good start, filmic, maybe not but hang on where's that Portra plugin? I see contrast rendering and light quality differences in these shots to be the main points of note. Colour shifts are there throughout the comparison but I don't think they are as affecting to the feel of the pictures. On a personal level, maybe film has qualities that I recognise and is more natural to my eye, I don't know whether it's through seeing more film images throughout my life and it being tied up with my nostalgic heart, or that it's is just softer and more natural, I can't be absolutely clear. Both formats strike a chord on different levels, I'm not going to say if one is better than the other, just that there are differences and they can be stark.

Medium format digital is being rolled out steadily so any format will eventually be catered for and digital detail is available to all. Film is still available, albeit at a price, but it is still being produced. What I will say is, it's a great time to be a photographer, few would argue with that? Ultimately I'm choosing both formats, they are both valid tools for expressing creative intent and ideas, after all, isn't that what photography should be about? Now, wasn't there a chippy somewhere here...

Nikon D750 | Sigma Art ƒ2 24-35mm    •    Hasselblad 500c/m | Kodak Portra 400                                                                                                                                   

Thanks Tony

Unlike a lot of my photographer friends, I rarely go out for an unplanned wonder with a camera.  Roaming around spontaneously searching for a shot is not my strong point and although I keep a camera in my car just in case it’s unusual for me to use it.  Having said that it doesn't stop me trying and so last week when I found myself in between appointments with an hour to spare I got my camera out of the boot and went for a walk.  I was in Brentford an area of West London on the Thames.  I knew from previous fleeting visits that behind the high street there were quite a few old industrial buildings, warehouses and boatyards that once supported Brentford’s previous life as the London terminus of the Grand Union Canal.  The Grand Union Canal was built to link London with Birmingham and Brentford situated at the confluence of the River Thames and River Brent was well place to be the final southern point for all the freight and goods that were traded between the two cities. 

While wondering about looking for a shot I stopped to talk to Tony a demolition worker on his tea break, he was curious as to why I was shooting in ‘such a dump’ and I spent a moment explaining my particular visual take on the dull and mundane. 

‘I've got an old film camera, I think it’s an Olympus.’ he told me. 

‘If you’re interested I only wanna a score.’ he added.

Disappearing behind the security gates that acted as a barrier for the half-demolished building he was working in, he went off to get it.  I carried on photographing an abandoned sofa on the pavement.  A few minutes later he emerged waving small black camera above his head.

‘No, no it’s a Canon’ he shouted to me from across the road.

I went over to take a closer look and to my surprise in his hand was an almost perfect Canon A1 sporting a 1980 winter Olympics lens cap and even an original protective plastic cover over the inner film pressure plate. I told Tony that without a battery it was impossible to test and suggested that once powered up and tested he could certainly get something for it on eBay.

‘I can’t use eBay mate! if I get a battery would you be interested in it for a score?’ he said.

For any non British readers a score is London slang for £20, and for £20 I was interested.  I told him that I pass Brentford quite often we agreed that if he got a battery he would call me.  To my surprise about 40 minutes later I got a call.

“I’ve made a battery and tested it, it’s working okay”  Tony told me.

He had ingeniously taped together four 1.5V button batteries with a brass bolt as the positive top cap.

‘It adds up to 6V,  so it’s okay’  he explained.

Sure enough, it was and powered by Tony's makeshift battery the 37-year-old camera came to life, its red LED’s displayed brightly in the viewfinder and I could hear the shutter firing at all speeds, everything worked.  We exchanged and as he disappeared again behind the security gate he reminded me to send him the photos I took with it. 

So maybe I’m not that good at just going out and finding a shot but at least on this occasion, I found a very nice camera... thanks Tony.

Close to Home

An interview with Tom Westbury

 

I have been enjoying the photography of Southampton based photographer Tom Westbury for some years now. His work principally centres on urban and suburban vistas, comprising of compositions of the everyday and ordinary. Ordinary yet to my eyes quite compelling, his particular take on the tradition of the man altered landscapes is a balanced analysis of the space that together with his subtle use of colour and tonality creates a particular consistency; a sort of signature. I wanted to ask him some questions about the development of his photographic approach and to get a better understanding of his thinking and influences. 

• Tom firstly a bit about you ?

I'm a 35 year old British photographer. I was born in Manchester but have spent most of my life in the South of England and now live in Hampshire. For a day job I work in a communications team for the National Health Service.

• What first sparked your interest in photography ?

I was never really into photography until about seven years ago. I started a new job which involved some photography; portraits, events, corporate stuff. I was given a DSLR and decided I'd learn how to use it in manual mode. I've always been quite technical minded and like to learn how things work. I quickly fell in love with photography from there, and within a few months I was hooked and it was my main creative outlet.

• How would you define your style ?

The word 'straightforward' comes to mind. By which I mean just presenting things in an unadorned, unaffected way, and making the most of the camera's ability to capture realism, detail, and clarity.

• Tom your focus is very much on urban and suburban landscapes, often framed by buildings and structures, can you tell me a bit about your interest in this area and how it may have evolved from your photographic beginnings ? 

I used to do a lot of painting and drawing and my initial forays with photography were about using a camera to create 'instant paintings' of 'beautiful' subjects. After a while through reading and discovering about photographers and photography, I started to realise that photography has inherent qualities and it can be about more than recreating paintings and pictures with a camera. One thing that particularly interested me was how images of quite ordinary objects or scenes could take on a different quality when framed and separated from reality in a photographic print or image. In other words, worthwhile images could be made from traditionally overlooked subjects or scenes. Obviously, discovering the work of photographers like William Eggleston and Stephen Shore played a big part in this, and also the many contemporary photographers who are continuing this way of looking. Quite quickly it was possible to see meaning and value all around, in everyday places and spaces, and I started to focus more on these types of scenes, which tend to be in urban places or the borders where urban and rural intersect. I also have an interest in documenting the kinds of places we inhabit and what these places say about us and our society - so there is an aesthetic and a documentary angle in what I'm currently doing, which is what keeps it interesting for me.

• Your description of ‘the borders where urban and rural intersect’ is very intriguing, can you tell me more about these boundary areas and what in particular interests you about them ?

Good question. I think it's because these areas are often unplanned and untidy - they reveal something different than carefully developed urban areas or purely natural landscapes - you get to see a break in the facade.

• I notice that you have an ongoing series of photographs that feature new build housing developments. What is the interest for you in this theme ?

I find new housing developments in England to be fascinating. They tend towards a particular aesthetic which is a kind of pastiche of traditional styles, often eschewing modernity in a uniquely British way. I think these new estates tell us a lot about British aspirations and a sense of conservatism when it comes to residential architecture. This attitude is epitomised by the Prince of Wales, and reached a sort of pinnacle in his Poundbury development in Dorset which is the ultimate rejection of post-war ideals. I also feel quite strongly about the state of the property market in the UK, the relentless pressure to own property (despite this becoming more and more out of reach for many people) and I want to try and document this in some way. 

• Can you tell me about your practical approach shooting, what attracts you to a scene or place and how you work a particular area ? 

It's still quite spontaneous. I try to have a camera with me at most times, and  just keep an eye out for compositions or places that could work. More recently, I've started to plan out locations using Google Streetview or just by driving around. I have a real interest in Brutalist architecture so I'm also trying to visit some of the more iconic sites if I'm in the area.

• A lot of your photos feature large empty expanses in the foreground is this a conscious compositional tool on your part ?

Yes and no. It's partly for technical reasons - I haven't used perspective-correction lenses, so to prevent converging verticals I keep the camera level, which tends to reveal more foreground. At the same time, there's often a lot of interesting details and textures in the foreground which can add value to an image, so I've learned to love empty and crumbling asphalt and pavements! I've recently picked up a shift lens though and I'm keen to start experimenting with this, but I'll still try and include foregrounds if I think they're needed in a composition.

• You seem to actively shoot in flat light, the sort of dull unexciting light that so many photographers deliberately avoid, are we all missing something ? 

Haha! Tom we live in the UK so we have to take what we can get! Seriously though, I actually think that this flat light has a lot to offer a scene. It tends to level everything out tonally, minimising shadows. Combined with a film like Portra, it results in a very neutral and deadpan feel which suits a lot of the subject matter and gives images an 'objective' quality. Having said all that, I'm a fan of magic hour as much as the next photographer - I just don't find myself out shooting as often at that time of day.

• You shot film, what is it about analogue photography that suits you and your work ?

For me film has a great dynamic range and a colour-response that most closely resembles the image I have in my mind's eye. This means that most of the work is done in camera and in developing, and I don't have to think too hard when post processing. Medium/large format film can give extremely high definition images and is much more affordable than medium format digital sensors. I also develop and scan my own film (again, partially for financial reasons!), so there is a sense of being involved in more of the image making process. For the last couple of years, I've mainly used the Mamiya 7 camera, which is a medium format rangefinder camera. The camera has the perfect combination of image quality and portability, so it's really hard to justify using anything else, at least in terms of the way I work.

• Who are your photographic influences ?

I struggle a bit with influences because I think we soak up so much subconsciously and I'm probably influenced as much by music or graphic design for example as I am by photographs. I also look at hundreds of images on social media everyday which must be effecting the way I see and shoot. So rather than influences I'll just mention some photographers whose work I just really love. William Eggleston, Fred Herzog, Stephen Shore, Joel Sternfeld, Robert Adams, Alec Soth, Gregory Crewdson, Walker Evans, Nadav Kander, Polly Tootal, Alexander Gronsky, Todd Hido to name a few. Cinema is a big one for me, too - especially the work of David Lynch, Wim Wenders, Stanley Kubrick, Terrence Malick and Sofia Coppola.

• You and your camera can go anywhere in the world, where would you go and why ?

I think there's a lot to be said for staying close to home and working within a limited radius - really exploring deeply your immediate surroundings. But if I had to go somewhere else, I would like to get lost in small-town or suburban America - just because so many of my favourite images are steeped in this culture. I would also like to spend some time documenting a place where the pace of change is still rapid or accelerating - China is an obvious one, or India.

• What’s next for you ? 

I want to show my work to more people to get feedback and help to edit it into more coherent series, take a more planned approach to my practice to develop the themes I'm interested in and make more prints!

For me, Tom Westbury’s photography offers an absorbing view of the urban and suburban scenes that surround so many of us. Knowing a little more about his thinking certainly adds to their appeal. If you want to see more of Tom’s work you can follow his gallery tom_wesbury on Instagram, or visit his website www.tomwestbury.com

© All Rights Reserved | Tom Westbury 2017

Son of a Gun

It’s really good to see some of my car photos featured alongside the work of some very creative photographers in today's latest Folio page on Son of a Gun Magazine.  Check out their site here, you’ll find some very absorbing interviews and outstanding features from talented photographers all around the world.

Enlightenment II

Following on from my previous blog post Enlightenment and after spending a bit of time this weekend reading Adobe Photoshop for Photographers by Martin Evening,  a book so big that I seldom find the courage to pick it up let alone read,  I discovered that Photoshop can automate the RGB levels procedure that I described in my previous post.  Essentially by using the Auto Option feature in a levels panel, any scan can be colour corrected by 'Enhance per Channel Contrast' in effect aligning the dark and light point of the red, green and blue channels to the scans histogram.  The start point is set by default very low to the first 0.10% of each of the channels colour clipping but can set to whatever tolerance you prefer.  Thereafter the scan only requires mid grey identification,  you can do this yourself or use Photoshop by checking Snap Neutral Midtones it can find the most neutral tone or mid grey and allow for it.  In addition, the Auto Colour Correction Options panel offers an alternative automated method 'Find Dark and Light Colours' using this method Photoshop will find blackest and whitest points on any scan,  again set to 0.10% but adjustable if you prefer.  From there simply identify mid grey by checking Snap Neutral Midtones.  Both methods work well and it's very quick and easy to see which is the most suitable starting point for any given scan.  Below is a short screen video that shows the process.

 

Enlightenment

Emerging from the dark art of scanning

 

About a year ago I purchased CF Systems ColorPerfect plug-in,  I was looking for an effective scanning workflow that would allow me to skip my scanners bundled software EpsonScan.  I covered my thinking in a blog post entitled Perfect Colour here.   At that time I had concluded that colour negative scanning was a three stage process consisting of scanning with no adjustments, removal of the orange mask and inversion then finally colour correction. Almost from the off I had my doubts about ColorPerfect and over the months that I used the plug-in my doubts never abated.  During that time ColorPerfect regularly inverted negatives with odd colours that needed extensive correction.  Using ColorPerfect to make these corrections while entirely possible was with its difficult user interface never going to be a pleasurable experience and so once again I was using Photoshop to make extensive colour corrections.  ColorPerfect had become for me, simply an inversion tool and knowing that this is also possible with Photoshop I decided that some experimentation in the hope of simplification and consistency was overdue. 

CF Systems ColorPerfect inversion of a linear scan from an Epson V500

Now after some months of experimentation and testing for the first time since I started scanning over four years ago I've finally arrived at a workflow that is for me, straightforward, consistent and most importantly satisfying.  In doing so I wanted to share my experience and method.  First task scanning the film with all scanner software controls set to off and include a decent slice of orange mask.  This produces a good linear scan of the negative with no automatic adjustments from the scanning software.

• Follow these setting on EpsonScan to make a linear scan

 

• Opening the linear scan in Photoshop it is first necessary to neutralise the orange mask.  

• Begin with a levels layer and sample the orange mask with the white eyedropper tool thus indicating the orange mask as white; it will become black when inverted, as will all the other unexposed areas in the negative.

• After sampling the orange mask with the white eyedropper tool all orange base areas become white and subsequently black when inverted. Note the white areas under the trees that will become the deep shadows.

• Flatten the two layers.

• Invert the file: Image>Adjustments>Invert or cmd + I (ctrl + I on Windows)

• The now positive inversion is muddy and needs correcting

• Before correcting crop the border, this is not absolutely necessary however if you want to keep a border then be aware of it in your histogram during the next steps.

• Create a new levels layer.

• In the dropdown box select the red channel.

• Start by pulling the small white triangle under the histogram box left so that it aligns with the right edge of the histogram above. If there is a space on the far left of the histogram pull the black triangle toward the right to align it with the left edge of the histogram above. 

• To help find the edge of the histogram hold the alt key until red clipping is seen. Repeat the process on green and blue channels.

 

Initial inverted and colour corrected scan.

This is how I arrive at my starting point, a basic inverted scan ready to post process.  Dust and spot removal, sharpening and contrast controls are always necessary, often a mid grey correction and curve adjustment help finish the photo.  Obviously I don't for one moment suggest that what and how I scan is the best or only way, it's simply a refection of my experience as a film photographer. As such I'm always interested in other analogue photographers experiences and methods.  So please feel free to comment or discuss.

Finished photo, spotted, sharpened with final contrast and colour adjustments.

Photographed with Hasselblad 500c/m on Kodak Kodak Portra 800 film.

Model: Rosie Gregory

 

 

 

 

 

 

Sharing Space

And the allure of the double portrait.

 

Portraiture is predominantly the representation of a single individual and for as long as there has been art there has been portraiture.  Although the portrayal of a single person has the power to arrest the viewer and tell a story, without doubt, the traditional strength of an individual portrait is often amplified with a double portrait.  When a picture features two people there is an added dimension, a natural sense of story that emerges due to our own supposed views of the relationships between the subjects.  All of a sudden the connection is not just linear, from the subject via the camera and photographer to viewer.  In a double portrait, the relationships scatter in different directions.  It is these imagined relationships between the subjects whether they be lovers, enemies, friends, colleagues, siblings, family or even strangers that create for me, some of the most intriguing and fascinating portraits.  

For some time, I have been enjoying the work of Belarusian photographer Alexander Veledzimovich who truly exemplifies the strength of the double portrait.  His portraits regularly feature two people, they are exemplary visions of sharing space and so I recently asked him some questions about his work and influences.  

• Alexander firstly a bit about you? 

I live in Vitebsk, a town in the north of Belarus. People know of Vitebsk through the artist Marc Chagall who was born there and who then in Paris created pictures inspired by his childhood and youth in Vitebsk. I am 32 years old. I was a teacher for some time in a college but by chance became a photographer and I have been freelancing for over 10 years now.  At the moment I am in Warsaw, previously in 2010 I lived for 6 months in St. Petersburg and in 2014, I travelled around Europe for 5 months. 

• How and when did you discover photography?

An artist friend of mine had a Zenith with a 135mm lens and I liked how it all looked. I worked in America when I was a student and on the advice of my boss in 2004, I bought a Canon 300D. Probably in the second year I looked into the basics [of photography] and took pictures of concerts, friends, exhibitions, parts of an old town and even tried to make an improvised studio.  This all had little to do with the art of photography but it seemed that I had something.  Everything became more interesting after meeting Egor Voinov.   He told me to try and work with film and medium format cameras.  My photos gradually became different. Photography became a time for reflection, with the camera on a tripod and a cable release attached there came a degree of calm and concentration.

• Who are your photographic influences?

Ah, that’s a difficult question.  I like the honesty of the portraits of Oleg Videnin but at the same time I like the complexity of form of Evgeny Mokhorev.  I look for a harmonious combination of form and content, above all an ideal balance between one and the other.  For me, a good photo has visual beauty as I do not like abstract forms in which there is no meaning.  I also like the stories of Alec Soth and Cristina de Middel, they show the delicate line between reality and non reality in such an excellent way. 

• Why Portraiture, what does it mean to you?

Portraiture for me is a quiet world or place in which one can relax from premeditated photography.  I like the fact that I do not need to think about a subject and simply wait for when a person gives me the image.  In fact, after living in Warsaw for 6 months, I am realising that I needed to be in Vitebsk because, for me, it is important to near the people I know in order to create new portraits.

• You work feels like a mixture of simple honesty and constructed vision with your use of subtle props such as guns, skulls and masks.  Can you tell me a little of how and why you make these portraits?

Usually, everything in a portrait stems from that person being photographed.  I do not like to photograph in a studio and I do not like to specifically pre arrange reconnaissance visits.  I like to visit my subjects in their home and wait and see what comes of it.  In this way, I can make an honest and powerful photo, one which I can love even after many years.  Put simply, there is a person, there is me, there is a camera and random things around.  Of course, I select the things I like but everything depends on what the person understands, whether he holds a toy pistol or wears a mask.  My best photos are lucky improvisations

• Many of your photographs feature two people what is your interest in these double portraits?

Actually, a double portrait immediately creates a story; the observer looks at the photo in a different reality and tries to interpret the interrelation between the people.  In a single portrait, there is a stronger relation between the observer and the subject but it is more difficult to create a theme or story.

There is no doubt for me, that Alexander's unique and particular approach offers the viewer a memorable take on portraiture.  You can see more of his excellent work on his website here.

© All Rights Reserved | Alexander Veledzimovich 2016

Perfect Colour

If you've read any of my previous blog posts you may have guessed by now that I see scanning as the dark art of the hybrid analogue/digital workflow. Using a standard Epson V500 I’ve been scanning my negatives for almost four years and frustratingly still have not achieved enlightenment.  In February I finally purchased CF Systems ColorPerfect plug-in. Until now I felt that although inconsistent the results from the V500's bundled EpsonScan software were acceptable and the use of additional software would not be worth the disruption in workflow.  EpsonScan generally does a good job of converting scans, automatically applying black, grey and white points, but it can also be hit and miss.  Disconcertingly on occasion, I've even found that two shots taken in the same light directly one after the other could look very different in preview.  It’s not the scanner, it's the software.  The automatic initial adjustments applied are exactly that, automatic and adjustments.  If these adjustments are there or thereabouts, then making small modifications is straightforward enough.  However getting control of these adjustments within the EpsonScans interface for anything more profound is not easy and so inevitably is done in Photoshop.  In reality using Photoshop to correct EpsonScans limitations.  So eventually tiring with EpsonScans variable results I thought why not try another way?  

It is not my intention that this is a review of ColorPerfect, for me it's too early for that but I have found the process of making RAW or Linear scans of negatives to be beneficial. By scanning negatives with no adjustments seemingly all information on the negative is captured.  I now think of scanning as a three-stage process.  Scanning which is just that, scanning the negative as a negative, no adjustments, no sharpening, no dust removal. The next stage is conversion from negative to positive and the removal of the orange mask.  Finally, colour correction, finding mid grey, contrast, highlight, mid-tone and darks adjustment.  In a conventional workflow scanner software such as EpsonScan or VueScan work to produce a final colour corrected scan in-line with all stages happening together in one process or it can be broken down and done separately, as I now currently prefer.

I hoped ColorPerfect with its vast library of film emulsions would somehow magically convert negative scans to positives while retaining the basic colour characteristics of each film type. The truth is as I see it, that ColorPerfect is a database of orange masks used to convert negative to positive. Thereafter its features are much the same as any other colour correcting software and in common with EpsonScan getting control of these adjustments is no easy process in ColorPerfect either.  ColorPerfect has some excellent colour correction features but they are hidden behind a difficult user interface that is neither intuitive nor graceful.  It does, however, convert an unadulterated negative scan to positive.  A scan that includes all information, effectively removing the orange masks and thereafter ready to go to Photoshop for the all-important final process of colour correction.  

I have no doubt that Adobes post-processing either in Photoshop or Lightroom is more powerful, more adjustable and more user friendly than anything scanning software can offer and in this workflow there is no need to correct their limitations either. The conclusion? Well as yet for me, there isn’t one, only progress because colour scanning still remains a dark art. 

1975 BMW 3.0 CSi | Hasselblad 500c/m | Kodak Ektar 100

Controlling Film Curl

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Something that has bugged me ever since I started scanning has been curly film. For 20 years I worked in the lithographic print industry and remember well the drum scanning machines and the lengths the operators went to mount transparencies on the drum. Air cans, squirrel hair brushes, wet mounting in oil to avoid Newton Rings and optically clear film overlays to secure the transparencies completely flat around the drum. All a far cry from the plastic film holders with their flimsy frame clamps that are supplied with most flatbed scanners. 

While scanning all too often I've dropped in a strip of film, clamped it down only to see the film bellying out. Thoughts of wet drum scanning nagging in the back of my mind. My solution until now has been to weigh down the film. After developing and drying, my best option was days underweight to try and achieve a degree of acceptable flatness. 120 film is flatter but not always great. 35mm; especially black and white can be terrible, the plastic clamps doing little or nothing to help.

After speaking to my friend Nicola Neri, a Milan based portrait photographer, whose beautiful film portraits often feature film borders. Borders are an indication that he is doing something different, his recommendation was to purchase a sheet of anti-reflective glass and to simply lay the negative direct on the scanner bed and place the glass sheet on top. My initial experiment was to purchase a sheet of 30 x 20cm etched defused anti-glare glass from a local picture framing shop.

 

Etched defused anti-glare glass is slightly frosted on one side, It’s the type of glass that was used before the clear modern anti-reflective coated glasses in use today. By placing the negative emulsion side down on the scanner bed and then placing the frosted surface of the etched glass on the non-emulsion side, unsightly Newton Rings were avoided. 

 

Unsightly Newton Rings are avoided by placing the etched surface of glass against the non-emulsion side of the negative.

However, there are three disadvantages to this: theoretically the film should be just above the glass for perfect scanning focus; not directly on it.  Only one scan can be made at the time, each frame needing to be masked and scanned before moving on to the next. Finally, the scan is back to front.

The third point is no big deal it is easy to flip the image in post-processing. The first and second are, and so to achieve the correct height and position the use of the scanner frames was necessary. Removing the clamp on the 120 frame was easy, a slight twist and out it popped. The next step was to have strips of etched glass cut to fit the channels of the film frame. On my 35mm frame, it was necessary to cut away some small lugs of plastic that held the 35mm strip in place at the leading edge, this was required in order to get a clear channel for the negative and glass to sit in. With clamps removed the negative can be placed in their original position but clamped down by the weight of the glass. The glass now completely flattens the film and the frame holder keeps it at the ideal height and in position so that the software can make multiple scans. The total cost of the cut and polished glass was £12.00 (approximately €15.00/$17.00) and for me, a cost-effective solution to control film curl.

Scanner featured is a Epson v500, glass is Matobel etched defused anti-glare glass.