I’ve just closed a small photo exhibition comprising five of my images.
The exhibition was called Small Scents, and the images were from a set of perfume miniatures that had been part of the collection of my late mother, Peggy. Read more…
Katie Cooke, an Edinburgh-based photographer who specialises in the more difficult aspects of the art, is selling a series of her prints to fund the next stage of her education.
Katie renounced digital photography some time ago, preferring the more contemplative process of making images using a tripod-mounted large-format film camera – with or without a lens. And over the past year she has been concentrating on the wet-plate collodion process, which involves adding egg-white, collodion and silver salts, layer by layer, to a sheet of glass, and using this to make her negative instead of conventional, ‘modern’ film. When such care and effort goes into the preparation, no wonder the actual taking of the image is not that far from an act of meditation.
The prints which form the set in question have originated either from this traditional process, or from one of Katie’s pinhole cameras (she makes them herself, out of wooden or cardboard boxes). There are thirteen images in total, and believe me, they are each and every one of them gorgeous, deep and rich and soft in texture with patches of creamy luminescence, and each one reflecting the intensity of thought that has gone into its composition. Read more…
I had to go to London earlier this week. It’s not a journey I make often; I had my fill of commuting in the 90s and prefer to do things the easy way now – by phone.
There was an hour to kill before my appointment, so I decided to walk up York Way past Kings Cross station and visit the exhibition of
Jane Bown’s photos at the Guardian office. Other British photographers – Patrick Lichfield and David Bailey, for instance – have portrayed the famous and the infamous, but none with the simplicity and lack of intrusion that Jane Bown brought, and still brings, to her work.