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-- craftsmanship in the digital era the lifeboat station project about this blog contact me photography categories advertising architectural awards books digressions documentary exhibitions fashion fine art introductions landscapes music news portraiture post production printing retouching scanning video weekend video links alec finlay alistair hood | portraits alpa of switzerland andrew mcconnell blake andrews | rumblings from the photographic hinterlands… chromix | colorthink dan holdsworth dark matters | on photography by roger coulam david chow | alternative processes design observer digitalbasics duncan davis | a collection eizo | displays florian maier-aichen francis hodgson | writing about photographs gabriel jeffrey hahnemühle digital fine art hautstyle hp | designjet ian ruhter | alchemist | silver & light james danziger | the year in pictures jim mchugh jim mchugh | a photographer's life jocundist jonathan de villiers jonathan knowles studio julian calverley julian calverley | edition prints julian germain julian germain julian germain | a collection julian germain | classroom portraits liam murray mr jack lowe neil barstow | colourmanagement.net nexus | sunderland station revamp olivo barbieri paul debois | news and observations paul kenny | mull works 2010 paul kenny | photographic works paul kenny | studio peter dench photography photokit sharpener by pixelgenius platinum/palladium printing reed ingram weir photography rod klukas | large format photo news the agnostic print tomás saraceno | 14 billions vincent laforet | photographer wayne ford x-rite colorchecker just a black box… digressions no responses » feb 01 2015 this morning i posted these words on my instagram feed . it seems appropriate to share them here too… this sunday, here’s a thought to consider on photography: as i’m about to make a photograph, i remove the ground glass screen (used for composing and focussing the image). just before i fix the plate holder to the camera, as in this case at southwold lifeboat station, this is what i see: frighteningly simple, isn’t it? it’s just a black box and a lens. that’s all cameras are…black boxes and a lens. truly. when i travel on my missions, i just use this camera and one lens; my lens cap is my shutter – i count elephants in my head when i’m making an exposure (have you seen gregory’s girl ?). as there are no equipment choices to make, my mind is free to concentrate on making the best photograph i can with what i have. so many people confuse ‘cameras’ with ‘photography’. i’m afraid i cannot have camera conversations like “so, are you a canon man or a nikon man?” it actually makes me shudder. cameras do not make you a better photographer… you make you a better photographer. you can have all the pixels and knobs and buttons in the world. it might have cost you £2000 but, unfortunately, it will not make you a better photographer. q: so, what will? a: other good photography! buy good photo books. old ones. new ones. immerse yourself in them. you’ll find out what you like and what you don’t like and, i promise, you’ll become an infinitely better photographer in no time… the lifeboat station project with that in mind, why not pop over to see what i’ve been up to with my black box and lens at the lifeboat station project ? i’d love you to join me… share this: facebook twitter pinterest tumblr linkedin google email like this: like loading... printing luxury seaworks for paul kenny books , fine art , news , printing 2 responses » jun 09 2014 it’s been a true pleasure to be a part of paul kenny ‘s working life over the last six years or so. to date, the cherry on the cake was being asked to make the edition prints for his upcoming book, seaworks 1998-2013 . over the years, regular readers of this blog will have become very familiar with paul’s work. if you’d like a little reminder, type his name into the search box towards the top right. ‘iona sun’ for the luxury edition of ‘seaworks 1998-2013’ set for a release date on 15th june, seaworks 1998-2013 is being published in three forms by triplekite publishing — the standard book, a special edition and a luxury edition. the special and luxury editions contain prints that are signed, numbered and embossed by paul. to cap it off, the book is introduced by one of the finest writers on photography, francis hodgson . i understand that pre-ordering of these editions has been brisk to say the least. if you’re a paul kenny fan, this is the ideal time to stake your claim to a copy of his beautiful book. you might be aware of the prices paul’s work commands at beetles+huxley in london , in which case you’ll also realise that this is a great chance to acquire two very accessibly-priced prints. ‘along the strandline no.1’ for the special edition of ‘seaworks 1998-2013’ “the work, building on themes developed over thirty-five years, tries to find the awe-inspiring in that which is easily passed by. it contains issues of fragility, beauty and transience in the landscape: marks and scars left by man and the potential threat to the few remaining areas of wilderness. looking at the micro and thinking about the macro, i aim for each print to be a beautiful, irresistible, thought provoking object.” — paul kenny ‘along the strandline no.1’ and ‘iona sun’ for the luxury edition of ‘seaworks 1998-2013’ in progress — ‘along the strandline no.1’ along the strandline no.1 and iona sun are made as archival pigment prints on hahnemühle photo rag 308gsm using hp vivera pigment ink. click here to visit triplekite publishing and order your copy… share this: facebook twitter pinterest tumblr linkedin google email like this: like loading... tom stoddart and the red cross recreate war scenes for poster campaign advertising , news , video 1 response » dec 16 2013 you’ve seen tom stoddart’s impressive colombian cool …? now we can marvel at how he’s able to tap into that vast experience, making so many elements come together within a commercial framework, forming a new healthcare campaign for the international committee of the red cross: read more here… share this: facebook twitter pinterest tumblr linkedin google email like this: like loading... ‘the mountains project: cols, climbs and passos’ by michael blann documentary , landscapes , printing no responses » nov 19 2013 col du peyresourde, l’alpe d’huez, sa calobra, stelvio can only mean one thing to some: le tour de france — the famed cycle race established in 1903. michael blann (a keen cyclist himself) has a passion for le tour, so much so that he’s set himself the challenge of documenting the stunning course. printing michael’s work has been a real pleasure, so i recently asked him to talk me through the series: “the idea for doing a project based on european mountains and their roads has been simmering for some time and i guess is rooted in my formative years riding a bicycle and watching the grand tours (of cycling). for me, there’s always been something very mythical about mountains and when i’m there i always feel a sense of excitement mixed with serenity. the challenge they present to cyclists adds a very primeval dimension of man overcoming mountain. they are always painful experiences but equally rewarding. col du peyresourde “so i guess i came to the project wanting to portray these mountains as something more than just rocks. i wanted to show their character, the way they are defined by their roads and man-made structures, the vegetation, the way they change through the seasons. but i also wanted to put this into the context of cycling, after all, many of these mountains have been given mythical status through cycling. l’alpe d’huez wouldn’t have the same notoriety if le tour hadn’t passed over it in 1986 when bernhard hinault and greg lemond resolved their differences and rode the climb together with a clear lead over the rest of the peloton. col du peyresourde “for me, i wanted to capture the permanence of mountains, their scale and sheer presence. it was important to shoot them through all times of the day and seasons. the contrast from winter when just a faint impression in the snow shows the line of the road set against the spectacle of a race in mid summer was very appealing. i also kept coming back to the idea that a cycle race is no more than a travelling circus that visits for the day and is then gone again, leaving the mountain behind. there’s the notion that the mountains are the constant that provide the platform for these dramas to play out. sa calobra stelvio “this line of thought dictated my approach as i wanted the work to have a quietness about it that showed a certain homage towards mountains. pulling back from any human elements whether it is the roads or fans lining the race route was important, as it showed everything in context. people became insignificant in the grand scheme of things and scale became a strong thread throughout. “this also dictated the equipment i chose to shoot on — a hasselblad h4d-50. like the old 10×8 cameras, i wanted to capture all the detail and fidelity to ensure nothing was lost when the images were enlarged. great care is needed at the size as all the faults and imperfections become more apparent and it offers less leeway for error. for this reason i teamed up with jack lowe to help ensure a great result through the printing process. “with the initial phase of shooting completed i am now embarking on the winter shots, much of which will be shot from a helicopter. the project will culminate in an exhibition and coffee table book in the autumn of 2014.” stelvio hairpin on a technical note… i’m not generally one to have ‘camera conversations’ but you can imagine that i’m often asked about the best camera files from which to make the finest prints. for years, in partial answer to that question, i’ve banged on about the fact that more pixels don’t necessarily result in a better file — pixel size plays a huge part in the signal-to-noise ratio battle, for instance. in addition, any photographer will tell you that the following statement is high on the list of insults: that’s a great photograph — you must have an amazing camera! (i have some great replies but more on that another time…) that said, i thought you might be interested to know that michael’s files from his hasselblad h4d-50 were among the best i’ve ever seen (and please note that i’m by no means associating that with his great photographic skills!). i loved poring over the details lurking in just about every corner. a quick conversation on twitter confirmed a general consensus that this camera is fast-becoming a modern classic… finally, here’s an example to illustrate my point — first a full-frame image and then a crop showing the file at 75% (not 100% as it then became so close that it was hard to see where the crop had come from!): ventoux ventoux — crop showing detail from the image above at 75% from michael’s hasselblad h4d-50 camera… share this: facebook twitter pinterest tumblr linkedin google email like this: like loading... giclée: your time is up! digressions , fine art , printing 9 responses » nov 13 2013 there are so many puns i could have used for the title of this blog post but i’ve been a good boy and refrained. what you are about to read has been a long time coming. during my digital printing career, the best part of fourteen years now, there’s been one issue that’s bugged me throughout and just doesn’t want to go away. in fact, it only seems to become more prevalent. it occurred to me that the best thing to do in this situation would be to empower you, the art world , with the appropriate information and let you decide for yourselves. so, here’s what’s been bugging me, along with what i know about it: the word giclée . in the art world, giclée has become a widely adopted term to describe inkjet printing of the highest quality — so much so that it’s even in my computer’s dictionary. in galleries, websites and portfolios around the globe you’ll see it misspelled and mispronounced like no other as people try to get comfortable with this tricky word. even photogravure and daguerrotype (names for other processes) seem easier to say than giclée . archival pigment print (detail) — ‘o hanami’ by paul kenny a little bit of history… the original intentions behind the use of giclée are totally innocent and honest. back in the nineties, a famous established american printer called jack duganne was at the bleeding edge of digital inkjet printing technology. in making his beautiful prints, jack was among the very first people to offer inkjet printing commercially to the discerning fine art world. but he needed a name for his process, a name that would sound elegant and really pop … “the french language sounds good”, thought jack (who told me this himself many years ago), so he picked up an english-french dictionary and looked up the word for squirt or spurt — after all, that’s what happens when the printheads fire ink onto paper, right? and, lo, giclée was born and we’ve battled with its spelling and pronunciation ever since. archival pigment print (detail) — from ‘north northwest beginnings’ by julian calverley what’s wrong with giclée…? it sounds nice doesn’t it? and, in a way, it is. unfortunately, you only have to speak to a frenchman (or, as happened recently, a swiss friend) about your giclée process to be sure of a drenching as a result of the coffee they’ve just spat all over you… why? because, and there’s no easy way to say this, in french slang giclée means ejaculation . in his first week working with me, antoine (a wonderful french assistant) saw an email drop into his inbox entitled ‘giclée print order’. through his tears of laughter, strong french accent and slightly broken english, he finally composed himself and managed to utter the now legendary words: “hey, man, we’re going to be really tired after making these prints, no…?” so, which name should we use..? if you’ve ever worked with me or downloaded my price list , you’ll know that i only ever use giclée in brackets like this: (sometimes known as giclée ) digital inkjet prints of the highest quality doesn’t exactly roll off the tongue, so i like to call them what they are: archival pigment prints (app) take note, however, that i only use this name because that’s what they are — archival and made with pigment inks. be sure of your choice of paper and ink before you adopt the name to describe your own printing methods. archival pigment print (detail) — liam murray’s ‘caravan’ spread the word… once you’ve digested the information above, decide for yourself. if, like me, you feel that giclée should no longer be used to describe high quality inkjet printing, then spread the word — please! tell everybody who needs to know and, hopefully, we can make a difference… share this: facebook twitter pinterest tumblr linkedin google email like this: like loading... older entries the lifeboat station project giclée: your time is up! click here to see what's been bugging me about giclée ! recent post comments documentary reality: initial ideas, first concept & influence – sophie clark-reflective journal on andrew shaylor | hells angels motorcycle club jack lowe on the lifeboat station project sharon on the lifeboat station project jack lowe on photography carla phillips on photography from the twittersphere… my tweets on facebook on facebook is here too… popular posts just a black box… printing luxury seaworks for paul kenny tom stoddart and the red cross recreate war scenes for poster campaign ‘the mountains project: cols, climbs and passos’ by michael blann giclée: your time is up! damien wootten’s coastal retreats run colour run tom stoddart: colombian cool pete postlethwaite: immortalised in platinum the marvelous clash at unit 44 tariq dajani’s falconry how we made ‘sky-wheel’ fiona crisp enjoys the view from tate britain kelvin okafor storms the art world new for 2013 ian aitken | platinum rhinos chris harrison — i belong jarrow julian germain | the future is ours platinum for muhammad ali association of photographers awards 2012 alternative printing platinum/palladium printing blogs alec finlay blake andrews | rumblings from the photographic hinterlands… dark matters | on photography by roger coulam david chow | alternative processes francis hodgson | writing about photographs hautstyle ian ruhter | alchemist | silver & light james danziger | the year in pictures jim mchugh | a photographer's life jocundist julian calverley julian germain liam murray mr jack lowe paul debois | news and observations reed ingram weir photography rod klukas | large format photo news the agnostic print vincent laforet | photographer wayne ford design design observer hautstyle jocundist experts david chow | alternative processes digitalbasics francis hodgson | writing about photographs neil barstow | colourmanagement.net photography andrew mcconnell dan holdsworth david chow | alternative processes digitalbasics florian maier-aichen francis hodgson | writing about photographs gabriel jeffrey ian ruhter | alchemist | silver & light jim mchugh jonathan de villiers jonathan knowles studio julian calverley | edition prints julian germain mr jack lowe olivo barbieri paul debois | news and observations paul kenny | photographic works peter dench photography reed ingram weir photography rod klukas | large format photo news wayne ford tools of my trade alpa of switzerland chromix | colorthink eizo | displays hahnemühle digital fine art hp | designjet photokit sharpener by pixelgenius x-rite colorchecker tag cloud alec finlay alternative process printing andrew shaylor aop apple wheel archival archival printing art association of photographers baltic baltic centre for contemporary art bamboo 290 dan holdsworth designjet z3200 digital digital negative djz3200 for every minute you are angry you lose sixty seconds of happiness fuji lanovia hahnemuhle hoults yard hp hp vivera pigment ink jack lowe jonathan knowles julian calverley julian germain landscape large format negative application limited edition print newcastle upon tyne northern art prize 2010 northern lights northumberland palladium paul kenny photography photojournalism photo rag 308 platinum print portraits print scanning the sly and unseen day vivera archives february 2015 june 2014 december 2013 november 2013 october 2013 september 2013 may 2013 april 2013 march 2013 february 2013 january 2013 december 2012 november 2012 august 2012 july 2012 june 2012 may 2012 april 2012 march 2012 january 2012 november 2011 october 2011 september 2011 july 2011 june 2011 may 2011 april 2011 march 2011 february 2011 january 2011 december 2010 november 2010 october 2010 september 2010 august 2010 july 2010 june 2010 may 2010 april 2010 march 2010 translate this page © 2014 suffusion theme by sayontan sinha send to email address your name your email address cancel post was not sent - check your email addresses! 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Ascio Technologies Inc. Denmark ? filial af Ascio Technologies Inc. USA t/a Ascio Technologies inc [Tag = ASCIO]
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