Posts Tagged john davies

Thank You! Yes, This Means YOU…

Taking a cue from these lovelies, ST84Photo is taking a moment to say a round of thanks to a bunch of people who have helped me out with various pernickety questions and the such that I’ve had to deal with lately…

First up, a shout out to Duckrabbit and David Hoffman, who were really great at providing oversight when I had to field requests from the police about images I might have shot. Appreciated being able to check in with them that I’d acted in a professional way to protect the privacy of my subjects. Turned out to be a minor issue, but it was a first for me, so I was a little scared I’d miss something out.

Next up, a big holler to McGrory Creative who run Antler Studios in Liverpool. I’ve recently been shooting on a Leica S2, which was on loan to John Davies, a landscape photographer I assist. Shout out to him for leaving the S2 with me while he was away for a social event. 🙂

The camera is ideal for studio shoots. Which is something I never do. But, I teamed up with Rob who runs both McGrory Creative and Antler Studios, for a day of trying it out in that setting. He arranged some models and make up for the shoot, and we had a really fun day getting to grips with the S2 in studio settings. The team are down to earth and chilled out, and made me feel completely comfortable in my first studio session. They also make some frankly amazing pictures on a regular basis for some very high-end clients. But you’d never guess that talking to them, as they’re completely ego-free. I’m looking forward to doing more studio work in the future, and Antler Studios and their team will be my first port of call for this.

And also a big shout out to Nick Dunmur for some much needed and very impromptu professional development and business advice recently. When I look around at colleagues like him, who have so much experience in the industry, I feel like a total baby to photography. But it’s great to have a supportive network of people I can get in touch with when I have specific questions, and Nick has been great at making me feel a less like I’m working in the dark when I get surprise requests that I don’t know how to handle. Appreciated. I’ve been looking at his work for a while now, and suggest you give it a browse too, for commercial photography the guy really knows what he’s doing. And, just like the team at McGrory Creative and the others I’ve given a shout out to here, is proving my theory that the people at the top of their game are also often the nicest.

Other shouts outs…

Graeme Vaughan photographer about to depart to Berlin, for scintillating conversations about photography that always inspire and humble me in equal measure, coupled with some top quality humour. Will miss that when you leave *books plane ticket to visit Berlin in 2012*

Leica and their awesome team who graciously loaned John Davies the Leica S2, have been very supportive throughout, and generally been an absolute pleasure to deal with in my work for John.

Phil Coomes for documentary photography discussions that I value really highly, and David Campbell and Harry Hardie (HERE) for raising the bar I set for myself.

Simon Norfolk, for Ozymandias.

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Leica Shoot A Real Keeper In Customer Service

Okay, so by now, we all know the story that Leica have had some compatibility issues with their M9 and the SD cards used in them. Here at ST84Photo Blog, we’re really hoping this gets fixed by the time the penny jar has filled up enough to drop several £k on becoming a Leica user.

I’m quoting a story here as reported in Amateur Photographer magazine, although I’ve read it in a few places now. It regards a photographer who suffered from this compatibility issue…

“On his blog, he wrote that a SanDisk Extreme Pro 8GB card ‘crashed and became unresponsive’
The photographer – who has since complained to Leica – added: ‘ Afew days after, I had a high-profile portrait photo shoot for an important client… I took the M9 and my beloved 90mm with me, together with a new SanDisk SD card, not before installing the newest firmware update. It was a very long photo shoot with heavy production [and] a tight schedule…
It was just before the end of the shoot that the other new SanDisk Extreme Pro card crashed inside the M9, making the camera dead and the card unreadable in any device. With all the embarrassment, I had to shoot everything all over again with my back-up equipment.'”

Now, my initial reaction upon reading this was: hang on, you experienced problems with your M9 and SanDisk memory cards, and then you decided to use that very same combination of tools on a “high-profile” shoot for “an important client”? And one with “heavy production [and] a tight schedule”?!?

It seems a fairly rookie mistake to make – use the gear combo that might well be duff, as evidenced from earlier use of said combo. I’d be loathe to use that combo in a professional setting again until I was convinced it was not going to go all sad face on me.

But maybe that’s just because I spent some years working as a techie on tour, so I’m prone to hazard-check when gear is involved. And maybe he did test it thoroughly and that bit just got omitted somewhere along the line.

Still, anyone reading this, please note: If your gear screws up once, don’t use that same gear combo on the most important gig of your life soon afterwards. Instead, do thorough testing and avoid using it in a professional setting until you’ve corrected whatever went wrong the first time.

Leica, on the other hand, were not quite so scathing in their response to this photographer’s news as I have just been (I mean, seriously, it’s called “professional photography” for a reason…). No, instead they offered the photographer in question a gorgeous* Leica S2 Medium Format camera to use while they fix the M9/SanDisk card compatibility problem.

I mean, wow.

Leica sometimes get a bit of a bashing for being primarily owned by doctors and lawyers, and not thinking enough about the working pro photographer. But it looks like they’ve really stepped up to the plate here in acknowledging the M9/SanDisk fault and arranging an awesome replacement camera for this photographer while they work out the kinks in their rangefinder system.

Leica, there are caps being doffed in your honour. 🙂

*I reserve the right to call this camera “gorgeous”, having recently arranged one for landscape photographer John Davies to use. It is beyond gorgeous, even (yes, there is such a thing).

Update: A Note From JJ at Leica
We doff our hat back.
Thank you for the article! We are communicating on the SD card issue under http://uk.leica-camera.com/news/news/1/8251.html Have now isolated the problem and will offer a solution as soon as possible.
^JJ / Leica-camera

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Collateral Damage Part II (Paul Lowe & Harry Hardie)

You can read Part I here.

After a quick coffee and lunch, we reconvened at Novas CUC for the afternoon of the LCC seminar: talks by Paul Lowe (LCC), Mishka Henner, and Dr. Jennifer PollardDr. jennifer Pollard (LCC), and a roundtable discussion that also included John Davies.

This “talks and discussion” session was scheduled to be broadcast as a live webinar, with input from a global audience. But this wasn’t to be. I believe the politically astute term for this scenario may well be “technical glitch”. I also believe the politically not very astute gesture for this may well be a faux-shock gaping mouth and a finger pointing directly at the LCC MA Course Director. Hi Paul. Got my MA application, yet? Just checking.

To be fair, it was more that the venue had a very weak wifi signal, a fact known to ex-musical heathens like myself, from days spent practicing in the adjoining rehearsal rooms of Elevator Studios. But I was surprised that neither the venue nor the Look11 team seemed to have sought a workaround for this event, or to inform the LCC of this issue. I’m not sure who really dropped the ball here, but it was a fairly rookie mistake from someone or, more likely, several.

Lowe’s talk could be described as a Rough Guide to Conflict Photography History. I mean no insult there; as a relative newcomer to looking at conflict photography beyond the pages and webpages of the broadsheets, it was a very useful introduction to the debate, and I culled much in the way of notes for future reference.

Lowe’s argument was essentially that rather than there being a supposedly fairly recent trend of making a different form of conflict photography in response to photojournalistic efforts, photographers had been doing this all along. It wasn’t something that started with Paul Seawright and contemporaries (see here for more), but rather has it’s roots as early as the days of Stanley Green, who was experimenting at the start of the 20th Century with this notion of alternative story-telling, using metaphor and allegory to photograph the unphotographable (to quote that threadbare phrase).

He elaborates that while an increasing number of photojournalists are taking cues from the fine art world in how they make and present their work, we ought not to pass over the icons of classic photojournalims, like Green and Robert Capa, who frequently did find alternative ways to document what they witnessed.

That said, he noted that photojournalism trails behind fine art practice in adopting new techniques and methods of portrayal, leading me to question both why this is, and whether it will continue as the distribution media for classic photojournalism continues to weaken and new channels of distribution are created and experimented with. It seems to me that experimentation and reiterative processes are key to fostering creativity, and with a distribution media either in collapse or in flux (depending on the strength of view you take regarding the rise of the mount olympus of social media), the time is ripe for some truly innovative work to be produced. I think we may have yet to see that work be made, but I do wonder if, how, and when it might happen.

He also shared a few variations on The Capa Quote™ (note: quote must be uttered with defiant tone) “If your pictures aren’t good enough, you’re not close enough.”

Joel Sternfeld: If your pictures aren’t good enough, then you’re too close.

Todd Pappageorge: If your pictures aren’t good enough, then you’re not reading enough.

This sums up a move away from the literal into the metaphoric, a move perhaps most strongly demonstrated in the work of Paul Seawright, Simon Norfolk, and in Broomberg and Chanarin’s The Day Nobody Died (links in Part I of this review).

To conclude his talk, Lowe argued that instead of judging this style of work based on individual pieces or even individual photographers, we would be better off viewing it as a collective narrative that provides a sustained and complex response to the too-frequently seen classic photojournalistic images of conflict that blinds us emotionally by saturation of imagery to the reality of the situation they set out so earnestly to depict. As Lowe said later, “the problem isn’t in the presence of certain kinds of images [classic photojournalism] but in the absence of certain other kinds of images [the more allegorical and metaphorical style discussed in his talk].” Conflicts, and their effects, run too deep for a solely surface appearance of them to suffice in documenting their true nature.

Edit – struggling to find the relevant links for the rest of this post and must dash for work. Shall finish up later tonight.

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Landscapes of Conflict – Part I

A couple of weeks ago, I was fortunate to be invited by Paul Lowe to attend a one-day seminar for LCC students at Liverpool’s CUC.

Why Liverpool for a London University event? Well, Paul Lowe and Harry Hardie have curated the group show, Collateral Damage for Look11. The show features conflict photography and seeks to offer a refreshingly different perspective to the repetition of ‘stock’ compositions that are heavily featured in photojournalism new pieces.

The show runs Tues-Sun, until 26th June 2011. Check it out while you can – my personal opinion is that it is one of the strongest exhibitions in the Look11 festival, and the curatorial aspects of the show really enhance the selection of images by contrasting the approaches of different photographers and positioning them so the different perspectives play off each other very strongly.

The day began with a tour of the show, and some time spent visiting some of the other Look11 exhibitions; some of the Lightbox work and the John Davies/Donovan Wylie Signs of War exhibition at Milk and Sugar. This was followed after lunch by talks from Paul Lowe (LCC), photographer Mishka Henner, and Dr. Jennifer Pollard (LCC), and a roundtable discussion that also included John Davies.

Collateral Damage features work by Simon Norfolk, Tim Hetherington, Zijah Gafic, Paul Lowe, Edmund Clark, Lisa Barnard, Ashley Gilbertson, Adam Broomberg and Olivier Chanarin, Brett Van Ort, Mishka Henner.

The exhibition is largely laid out across three ‘corridors’ where images from two photographers face each other. Brett Van Ort and Edmund Clark are paired together, both works dealing with “what exists but can’t be seen” – Brett’s work shows beautiful looking landscapes in frames which open to reveal coldly photographed product photography of the mines hidden in the landscape, while Edmund Clark’s work comprises photographs of letters sent to inmates at Guantanamo Bay. The photographs are of scanned copies of the letters, with text blacked out, as prisoners never received the actual letters themselves but the scanned copies. The photographs are the more poignant for this fact – the sense of distance the viewer feels is akin in kind to the detachment the inmate has from the actual letter sent, and often sent by a family member. Both works allude to dislocation between beauty hinted at (or proclaimed, in Brett’s work) and the dangers that aren’t at first apparent to the viewer, but ever present for those living in these spaces.

The next ‘corridor’ features work by Tim Hetherington (whose tragic death this blog wrote about here ) and by Lisa Barnard. A perhaps unintended consequence of this pairing is that, in light of Tim’s recent death in Libya, and the attendant discussion in the media and photojournalism forums of the psychological effects of warfare on both those who participate in it and those who document it, Lisa’s images depicting the psychological training and treatment of American troops takes on a further potency than it otherwise might have had. Tim’s work featured in this exhibition is early work, examining the graffiti in post-conflict zones, pointing to the territorial nature of disputes. These ghostly echoes of the causes and basis of war are powerful, both for their similarity in appearance to the markings left in all urban spaces, and for the link with Lisa’s work, namely that marks of war live on after the war has ended, both physically and psychologically. It makes the viewer question where the end of a war actually is.

The final corridor pairs Paul Lowe’s images of the wall separating Israel and Palestine, and Mishka Henner’s aerial google views of American military bases around the world (his 51 states). Each offering unique perspectives on the divisions of architecture, symbolic of the divisions between nation-states, these images carry a hypnotic weight through repetition of content and framing. There is a pervading sense here, as in other work featured in Collateral Damage, that this could be anywhere, and the absence of stereotypical or easy markers for locating the spaces depicted adds to the force of interrogation the viewer faces – by refusing to show whose backyard this is, it becomes everyone’s backyard. Interesting, then, that Lowe and Hardie feature Ashley Gilbertson’s Bedrooms of the Fallen along the side wall, printed in large-scale panoramic format (a powerful counter-point to the comparatively tiny panoramics of Lowe’s Wall), depicting bedrooms of American soldiers. Instigated after Ashley was working on assignment and witnessed the death of a soldier who had taken him to the top of a mosque for picture opportunities, the work is laden with emotional cues and is reminiscent of the Rimbaud poem, The Sideboard and Maurice Merleau-Ponty’s phenomenology (see also Gibson, Affordances, 1971) – objects are never merely objects but always exist in relation to us. In this case, the artefacts of youth where life has ended, there is an unsettling feeling created by looking at a bedroom that will never be slept in again. The relationships of attachment, entertainment, and utility that these objects once had in relation to their owners are now broken, and instead the whole room becomes a shrine for the family remembering their loss.

Next to Ashley’s work, and on the opposite wall, creating a pair crossing the walls of Van Ort and Clark, are two images by Simon Norfolk, from Full Spectrum Dominance: Missiles, Rockets, Satellites in America. Like Van Ort and Clark, there is a notion here of what can’t be seen – the missiles are created and transported in top secrecy, and the satellites are fired into space, where they can’t be seen, only their effects are tangible. Here, Norfolk photographs the single brief moment when they are visible, and spectacularly so, during their launch. That these two images are the only clear signs of the “shock and awe” of warfare in the exhibition reminds us of the link between the quieter images presented by the other photographers and the newspaper images we are all saturated with, but Norfolk does it in a conceptually intriguing manner; the viewer is reminded of the childhood (or childish? maybe) interest in war games for their spectacle, for the fireworks we celebrate with every November, for the sheer sense of display.

In all, Lowe and Hardie ought to be commended for producing an exhibition that explores a wide range of different dimensions to the effects of war, on the military involved, the people stuck in war zones, and the families of those lost in the name of supposedly noble causes. Henner’s work also shows how the military machine is everywhere, and inescapable in terms of distancing oneself geographically (and, by extension emotionally), the from the debate. The work presented is quiet but insistent in it’s interrogation of the viewer, and manages to ask questions without polemicising strongly one way or another. A fantastic exhibition, and extremely well delivered.

You can read Part II of this review here, where I get into the talks and discussions in the afternoon session of this event.

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