Laurie Klein, whose excellent book Photographing the Female Form with Digital Infrared I reviewed in November, will be giving a talk on infrared landscape photography at the Optic 2015 Conference early next week. The event, in locations in New York city near to the B&H store, runs from Sunday May 3rd to Tuesday May 5th.
Laurie's presentation is at 11 in the morning on Monday May 4th and takes place in the Orion Room at AMC Loews 34th St Theater (4th Floor). AMC Loew's is on 312 W 34th St between 8th and 9th Avenue. The event is free but you are encouraged to register. Here's the link to the page for Laurie's presentation.
Thursday, 30 April 2015
Thursday, 16 April 2015
More on Ed Thompson 'Unseen'
I made it over to Bethnal Green yesterday to see Ed Thompson's 'Unseen' exhibition and, as I expected, found the images fascinating. There are only two days left but I do recommend that you get over to the Four Corners Gallery if you can. Ed very kindly gave me a print, and we chatted. I was impressed that he made such good use of this difficult film stock ... even more so since he found that he didn't need to bracket.
One thing that struck me was the silvery skin tone in the Vein series. I've been trying to figure out what might cause it: the illumination was flash and the images are almost always straight what was recorded on the film. I'll leave you with my favourite out of the Vein shots and a final note that Ed plans a book sometime soon. Details yet to be announced.
One thing that struck me was the silvery skin tone in the Vein series. I've been trying to figure out what might cause it: the illumination was flash and the images are almost always straight what was recorded on the film. I'll leave you with my favourite out of the Vein shots and a final note that Ed plans a book sometime soon. Details yet to be announced.
Wednesday, 8 April 2015
Ed Thompson 'Unseen' infrared photos in London
Documentary photographer and lecturer Ed Thompson has started an exhibition of colour infrared photographs at Four Corners Gallery in east London. It's called The Unseen and is a compendium of medium format Aerochrome shots taken for several earlier projects.
The photographs cover landscapes, medical imagery and aerial photography, in some cases echoing the original intended usage for the film, which was better known in its Infrared Ektachrome incarnation.
The exhibition runs until April 18th.
Like Richard Mosse, Ed Thompson's use of medium format Aerochrome film is a dying gasp for the medium. I doubt if there's much stock left now, and although it is possible to mimic the film's effect with a digital camera, the results (at least by me) are nowhere near as dramatic as 'the real thing'.
The photographs cover landscapes, medical imagery and aerial photography, in some cases echoing the original intended usage for the film, which was better known in its Infrared Ektachrome incarnation.
The exhibition runs until April 18th.
Like Richard Mosse, Ed Thompson's use of medium format Aerochrome film is a dying gasp for the medium. I doubt if there's much stock left now, and although it is possible to mimic the film's effect with a digital camera, the results (at least by me) are nowhere near as dramatic as 'the real thing'.
Tuesday, 24 March 2015
Thermal Eclipse
Many thanks to Dr Chris Lavers of the University of Plymouth for sending over unusual views of last week's partial solar eclipse. Here's an example ...
This was taken in the south west of England with a FLIR 320 by 240 pixel E320 thermal imaging camera. This camera covers a range of 7.5 to 13 µm, which includes a substantial atmospheric window around 10 µm.
This was taken in the south west of England with a FLIR 320 by 240 pixel E320 thermal imaging camera. This camera covers a range of 7.5 to 13 µm, which includes a substantial atmospheric window around 10 µm.
Tuesday, 10 March 2015
Four Simon Marsden prints for auction at Sotheby's
Prints of four of the late Sir Simon Marsden's infrared photographs are included in Sotheby's 2015 Made in Britain auction. This takes place on the morning of March 25th.
Simon Marsden: Dunnottar Castle, Scotland
The four, in two lots, are his famous shot of Moydrum Castle in Ireland, as shown in the Infrared 100 exhibition in 2010, together with an atmospheric view of Dunnottar Castle in Scotland (above) and shots of Whitby Abbey and a gargoyle at Toddington Manor in Gloucestershire. Estimates for the two lots are both between £1,500 and £2,500.
In the same auction last year there was a lot of four of his prints, which exceeded their top estimate to fetch £4,375.
Like Minor White, Ansel Adams and others, Simon saw the print as (to quote Adams) 'the performance' where the negative is 'the score'. This places a great importance on the printing process, especially when the photographer does the printing (as did Simon). Whether this analogy means that no-one else can legitimately print a photographer's negatives is a difficult point, since following the musical theme it would mean that we should discount Sir John Eliot Gardiner's performances of a Beethoven symphony simply because only Beethoven himself could conduct it (other great conductors are available). But I'm just being devil's advocate ... sadly Simon will print no more and this is a chance to own the authentic manifestation of his vision. There are very few prints of Simon's work around and it's likely that there will be no more prints made. Plus, I am always delighted when people take artistic infrared photography seriously.
Simon Marsden: Dunnottar Castle, Scotland
The four, in two lots, are his famous shot of Moydrum Castle in Ireland, as shown in the Infrared 100 exhibition in 2010, together with an atmospheric view of Dunnottar Castle in Scotland (above) and shots of Whitby Abbey and a gargoyle at Toddington Manor in Gloucestershire. Estimates for the two lots are both between £1,500 and £2,500.
In the same auction last year there was a lot of four of his prints, which exceeded their top estimate to fetch £4,375.
Like Minor White, Ansel Adams and others, Simon saw the print as (to quote Adams) 'the performance' where the negative is 'the score'. This places a great importance on the printing process, especially when the photographer does the printing (as did Simon). Whether this analogy means that no-one else can legitimately print a photographer's negatives is a difficult point, since following the musical theme it would mean that we should discount Sir John Eliot Gardiner's performances of a Beethoven symphony simply because only Beethoven himself could conduct it (other great conductors are available). But I'm just being devil's advocate ... sadly Simon will print no more and this is a chance to own the authentic manifestation of his vision. There are very few prints of Simon's work around and it's likely that there will be no more prints made. Plus, I am always delighted when people take artistic infrared photography seriously.
Result
Lot 107, Moydrum and Castles, sold for £1750 while, sadly, the other lot didn't sell.
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