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I have already mentioned my love of film, in my own work I’m shooting on film more and more.

There is something about shooting film you don’t get with digital, with digital you can ‘hose it down’ with images, with film you can’t, you have to know what you want to shoot and get it in the fewest possible number of frames.

It’s a great discipline and unless you have shot film you don’t realise how alive this makes you feel, it sharpens the senses,  it focuses your mind, it gets you to think more tightly about every aspect of what you want to shoot, and with this sharpness as you look you’ll be surprised how much more you see. Keep in mind though there are limits,  every film behaves differently particularly when you ask it to do something it was not designed to do, and if you do when you get it back it will contain all sorts of interesting surprises.

With digital you can ‘machine gun’ every angle of a set and every expression made by your model  in the knowledge that you can find the one that works later when you get everything on screen, after all ‘it has to be in there somewhere’.  With digital you don’t have to commit to anything on set when you shoot, equally nor does your client, but the danger is that this can become a mind set, and for some it is.

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It’s very simple with film you have to take almost all your decisions in real time, right in the moment as you shoot, with digital you can take almost all the decisions retrospectively once you get back to the screen, it’s no wonder film is so exciting.

Some years ago I attended Werner Herzog’s Rogues Film School, he recounted the story of shooting Bad Lieutenant with Nicholas Cage (Herzog was the Director).  They started shooting at 10am and Herzog had everything he wanted by mid day,  however the Assistant Directors (AD) wanted allot more incidental footage covering every possible angle and detail they could find so they could add and tweak the film in the cutting room. Herzog said no, he had what he wanted, the AD’s were not happy and they continued to make demands, that was until Cage also said no telling the AD’s they were ‘working with a man who knew what he was doing’.

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I enjoy walking when I get chance,  near me there is a circular walk of around 5-6 miles, my walk is on borrowed time due to HS2 and the ambitions of the local authority to cover every bit of Nottingham and the surrounding area with tram lines. What is rural space is soon to be rural no more.

There are the remains of what were railway cuttings and the tell tale signs of random apple trees still growing strongly beside lines that have long since closed.

The walls beside one cutting are reverting back to nature and there is a combination of wall and roots together creating some wonderful shapes and forms, it’s as if the roots are finding weakness in the stone as it degrades and filling those weakness and binding the wall providing both strength and support.

Shot on film these images are a pleasure!img110img114img112

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On the first weekend of December there is always a Christmas Fair at Nottingham Contemporary, in my view the gallery  is usually on the obscure end of the scale, much of the work is so highly codified it is almost inaccessible and that of course makes me wonder if  much of it has any merit.

The work by Alfred Kubin in one of their early shows was superb, and at the moment in the work of Marguerite Humeau (a French Artist living in London) they have another stunning show.  The show FOXP2  aims to portray the emergence of sentient life.

It works on the notion that elephants rather than man became the beings that mastered language,  the centre of the show is a matriarch in her death throws, her passage towards death triggers the evolution of others in their various states.

What’s great about this show is the way it works with all the senses, much of the sound is synthesised through a beatbox, in addition there are 2 configurations of room lighting, one being showroom like,  the second following the evolution process from each elephant manifestation.

This is a complex show, the stunning sculpture works on many levels, it is one of those shows that the beauty of the sculptures  initially draws you in, then the other dysfunctional elements start to ask questions so  that you want to find out more about the artist and what they want to say. If you have been looking for a reason to visit Nottingham Contemporary and see something worth seeing now is the time.

Yes, that stuff!

I have enough digital equipment to build something I can sit on and it is pressed into service every day of the week.   For some years I have had some serious film equipment that I have not used because of time pressures – I do plan to use it!

However earlier in the year  I bought a blad that takes film (there is a digital option) but it is a film camera. It has been a pleasure to do ‘slow’ photography, it is old school with benefits, you need to look, you need to think you need to see,  and you need to do that in it’s rawest form.

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When I first saw Not’s work I could not help but consider it against Henry Moore as my reference,  and you can see similar sensitivities.

I was fortunate to go to a talk by the artist at YSP supporting his current show  and it was fascinating,   the talk was almost entirely about his ‘houses’  that is far more a structure that is relevant to the land and people where it is located.

The impression I got was the sculptures  whilst important are not the key to the artist,  but the ‘houses’ land art and other structures are, as are his relationships with the people he works and collaborates with.

It is hard to understand the houses unless you see them, you  only get a taste of them (along with the bridges and platforms) through the  current show, however with Not there to guide you through them (he is building or has built on every continent in the world) it is eye opening.

The sculpture is stunning using techniques no longer found in Europe Not has to get them made in the Far East.

In the way that Moore looked at elephants bones Vital has produced a stunning sculpture of the bones of a camels pelvis in steel.   When you look at it directly you see what it is, however as you move round it you start to see two connected  separate entities,   who become dancers intertwined , as you move further round you see the frailty of two people supporting each other, however they arrived at that frailty.

 

 

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A few days ago I was in Central London heading back to Embankment station, what drew my eye was the red frontage of the now closed  Strand Station on the Piccadilly Line, following it round the corner  I saw more frontage on Surrey Street.

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As I went down the hill I saw a sign to a ‘Roman Bath’,    and this was given further credibility by being under the National Trust banner, of course I was curious and headed through the arch,  between the buildings and down the steep steps.

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Turning right (as the signs directed) I saw a notice board giving opening hours and instructions to observe the bath through the adjacent  window.

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There  is a brick lined bath full of water, that is fed by and underground spring, however this is the only piece of factual information you can rely on, in reality it’s unlikely to be Roman,  and more likely to be either 16th or 17th century  depending on what theory you believe.

What was very cool was the view up the steps with the mid air walkways joining the 2 buildings above the passage I had walked through a few minutes earlier.

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