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  • The Photographers' Gallery

    posted by Fotofill on 03 Feb 12 11:11 Add Comment

    The Photographers' Gallery (London) has been closed for well over a year now (since 19th September 2010), for a general overhaul of the premises. The initial plans for the renovation had to be altered after funds could not be raised to implement them, and a less expensive design was conceived and implemented which was less costly, with a final price tag of £8.9m.

    The Gallery was due to open late 2011, but now delayed until May 2012, tagged as conceding with the Olympic year.

    As the world of photography continues to change at an increased rate, and it's acceptance within the art world grows, one would began to challenge the relevance of having a specific location dedicated to photography and after a year of closure if the relevance of the Photographers' Gallery has diminished.

    In the art world, a year is a very long time, and lots of things can change very rapidly, we're beginning to see acceptance amongst the art world of photography as an art form, rather than as a quirky plaything that anybody and everybody can, and does do. We have seen increasing prominence of photography within the major galleries in London, from the Tate modern Voyeurism exhibition spearheaded by the near newly appointment curator Simon Baker, the Taylor Wessing portrait prize being hosted at the national portrait gallery through to the Wildlife Photographer of the Year at the natural history museum.

    With the temporary closure of the gallery, any natural choice for hosting an exhibition has gone with it too, perhaps forcing potential exhibitions to look elsewhere to display their works, the examples stated above have been very successful in their own right from visitors, one would argue if any of these exhibitions have been hosted at the gallery if they would've been equally successful or if they would only achieved limited success being segregated away as photographic art in a separate purpose built venue, rather just being placed in a more general purpose art venue, next to paintings, sculptures and more traditional art mediums.

    I would argue that the increasing success of photography being defined as a artist medium is thanks to the progressive thought of many of the bigger galleries not just dedicated to one single form of art, but willing to display photography in the same, un-discriminatory way it would display any other form of art, segregation of photography is perhaps not the best way to promote it.

    The gallery has been subject to many criticisms over the years, from photographers with a wide variety of opinions, not least is that the gallery is detached from what happens in the "real" world of photography, choosing to exhibit self indulgent projects with little or no content beyond vacuous; to some photographers the gallery simple does not, and never will exist, having no relevance to the work they do - slightly worrying criticisms for an organisation funded by the Arts Council.

    If the gallery is too succeed when it reopens, it will have to work hard to establish it's relevance not only in the photographic community, but also in the art world as a viable venue & alternative location to bigger art galleries for exhibitions, I would argue after being closed for such a long time it may never regain a foothold when better more wider appealing public art space can be found; after all photography is a medium that is very much owned by the people (ever since the cheap box brownie arrived on the market) having such segregation of photographic art is a contradiction of this solid foundation.


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  • Ethnic Minority Man

    posted by Fotofill on 03 Feb 12 11:11 Add Comment

    A common cliche amongst today's photographer is the "Ethnic Minority Man", a fairly common photographic subject, sure to turn heads and win competitions. The setup is simple, ship yourself to some foreign land, preferably with extreme poverty but with excellent year round sunshine; Jump out of your 4x4 Air Conditioned Land Rover, stick your hiking boots on and keep walking until you hit a suitable village of mud huts and half naked tribal priests (actually, the less clothes the better). Next find somebody of appropriate old age, a face full of wrinkles and character that suggest a lifetime of hard work, then set your camera atop of your tripod and attempt to steal that persons soul, making sure that before hand you taught them how to say "cheese". Job Done, time to go home.

    I have several problems with this current trend of photography (or perhaps not so current) but first of all, let's start with the positives, usually Ethnic Minority Man is illustrated with a high level of technical competence, you most often get a very nice portrait, with that person dressed in attire which appears to be suitably appropriate to the lifestyle you'd expect, nothing wrong with a nice portrait, but this is where it all starts to go wrong.

    Now consider for a moment, you've just flipped through the latest edition of Photo Monthly Weekly Magazine, and you've come across a portrait of Ethnic Minority Man, what does this picture really tell you about that person? Does it build a story? Does it create an image & a story of that person in your head? Is that image accurate?

    My problem is that such a portrait only serves to reenforce several negative stereotypes, not least the defining stereotype that the photographer themselves provided of that person when they took the picture, the photographer intentional went out to find such a picture, and either intentional or accidentally perpetuated the stereotype of what people in the west imagine a person in poverty in the third world would look like, I have found out nothing about what the life of Ethnic Minority Man is really like, I am just looking at yet another stereotypical image.

    What is most impressive about this situation is that most likely, the photographer thinks they have done a great service is promoting the plight (and probably showing the enduring internal spirit) of Ethnic Minority Man to a greater audience by taking such pictures and by travelling to such "harsh" conditions compared to their normal life, however beneath the surface such photos can only come across as Condescending with a Superiority complex thrown in for good measure, the photograph has conveniently forgotten that this is the normal life of Ethnic Minority Man, who is living in these harsh conditions everyday, by putting his portrait on a plinth for all to admire as a work of art. The photographer has had an idea about what type of person they want to photograph, decided upon a remote muddy location and went and packed their camera, the very concept of being anything other than condescending was lost from the very start, how could it be anything else?

    I'm not saying it's not important to go on such journeys, and bring back photographs from far away places, of far away people, photography of that nature has served an important role in our society and help illustrate a world different to our own, and any plight that might exist in that world. However to go to such a place, and returning with images that perpetuate a stereotype is an easy and lazy option, a far greater, better thing to do would take photos of people in context, no matter what that context may be, even if that context contradicts what you where hoping to photograph, or your own personal stereotypes. Ethnic Minority Man has no meaning without context, context is lost within a single, often misleading portrait.


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  • New album "Occupylsx" uploaded!

    posted by Fotofill on 29 Oct 11 10:52 Add Comment


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  • New album "Spirals" uploaded!

    posted by Fotofill on 29 Oct 11 10:11 Add Comment


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  • New album "Alone in the dark" uploaded!

    posted by Fotofill on 29 Oct 11 10:08 Add Comment


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  • My First Book!

    posted by Fotofill on 28 Oct 11 03:06 Add Comment

    Available from Blurb.com, either as a printed copy, or an eBook for devices such as the iPhone or the iPad.

    Check out my books


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  • Originality

    posted by Fotofill on 16 Aug 11 09:21 Add Comment

    I'm often told being original and creating something unique is the key to success in the world. Doing something different, offering a new perspective that nobody else can provide to enrich a collective opinion on a subject matter.

    I'm starting to wonder how far being original can really get you in the world of photography, in it's current form. Judging a photograph is a very subjective task, often relying ultimately (after technical "correctness" has been assessed) on a person's personal opinion to gauge whether a photograph is good or bad.

    What if people begin to reject an original piece of photographic art work, because it does not converge with current stylistic trends happening in the world of photography today - or even worse, what if your audience fails completely to understand what you have tried to achieve in your photography, because it cannot be quickly consumed.

    Taking an impartial view, as often a good photographer should try and do, you'd have to consider that what you thought was an masterpiece example of shiny originality is nothing more than scrap paper, however equally perhaps you have to consider that nobody understand your intentions within the photograph, perhaps you did not communicate well enough within the medium for it to be understood; however there is also a third considering, that the people who see your work are unwilling, and/or perhaps unable to interpret your art as you yourself would do - Perhaps you've over estimated your audience.

    Consider an audience who over the period of their life's have been trained, passively or directly, through one medium or another (i.e. television, adverts, magazines) of what constitutes a good photograph, if the standards have always been that of technically excellent pictures, unblemished and imperfection free, when they try and directly consume the medium, this is what they're going to expect, easy to digest, obvious (perhaps cliche?) pictures, the audience may not have necessarily been trained to think about a photograph, or deduce a deeper meaning, if a message cannot be communicated in under 10 seconds, what would be the point of a photograph? would the photograph have failed in it's own right? Is it correct of us to dismiss everything that has to be more slowly digested? Is a photograph even worthy of lengthy attention?

    The point I'm so inelegant wading towards (and I should get to it soon, as I've began asking rhetorical questions) if a certain style and standard of photography is expected, and if everybody is looking for that style, is it worth trying to be original and different, would truly original works of art be completely ignore in todays modern world? Perhaps it's best to join the fold and start creating cliche images, but try and become the very best at it, becoming technically excellent at a single subject.

    Perhaps you could become the very best at taking pictures of jetty perched on the side of lakes on a misty morning, or become excellent at taking pictures of birds sitting on electricity cables or even become professional at taking pictures ethnic minorities in far away lands (you know who you are, you do it because you think it's moody and arty and helping the people, when really it's patronising and condescending, promoting a misguided image) The world of cliches is at your very fingertips.

    When your faced with photo sharing website after another, full of pictures, all looking exceptional beautiful, but all with incredible dull, uninspired subject matter, where else do you go? I believe the skill in photography is that you can make something exceptional ugly, or awkward, into something genuinely interesting and attractive with no further aids apart from that of your camera. Picture that man who lives down the street, he may have a rudder for a nose, and his girlfriend has had her face chewed off by a dog, but you can make them pretty, you can find what makes them tick with a simple click of a shutter and show the world what goes on beyond the superficial outer shell. How about that rubbish pile at the opposite end of the street, a rubbish pile can be genuinely interesting to look at, bits of old rubbish with writing on, or just junk in general, find something that interests you, no matter how ugly society perceives it too be, and make it sing.

    With talk of inner beauty, and looking beyond the ordinary scope of originality it's clear I may be entering the realms of irony, I shall leave you with my thoughts. I shall probably also leave you with the impression my spelling & grammar checking systems should really be turned on.


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  • The Urge

    posted by Fotofill on 11 Aug 11 12:52 Add Comment

    Taking photos is a passion, and chasing the perfect photo can lead to obsession. Finding something unique can lead you into all sorts of awkward situations without you even noticing. This is the nature of the hobby. Sometimes the risk outweighs the importance of getting a good photo, the balance of safety against importance can precariously tip in either direction from one second to the next.

    I was reading my Twitter stream last night, regarding the London riots, it was a collection of varying tweets from a number of photographers in and around London, some staying indoors avoiding the trouble, whilst others ignoring warning messages about photo journalists being deliberately targeted and venturing out with their cameras (whether such warnings were confirmed or otherwise, it was hard to be sure).

    As a photographer, where do you draw the line between personal safety and getting a good picture? how far would you go before you started thinking about the consequences of your hunt for the decisive moment, the picture that tells it all. It's a difficult path to tread, leading to some potentially difficult personal decisions, even if those decisions are only apparent at a subconscious level (if you're lost in a moment, it's all too easy to ignore yourself)

    throughout history, key events throughout the world can be highlighted and used to inform the global population through the powerful imagery of a single photograph, famine, war and other negative events, can be used to educate and influence the feelings of people into action against horrific events.

    In hostel environments photographers have often risked their personal own safety to get images which they feel are important, which are informative to the outside world; this leads to a series of questions, how does a photographer judge each situation and gauge what is important and what is worthy of the risk? how far is too far? when do you stop?

    Undoubtedly, any photographer obsessed with their camera would've considered going into London to take a few snaps, hoping their photo will tell the world, in a single frame what is going on, but then how many of those photographers would've dismissed that idea as madness and forgotten about it, how many of those would've felt guilty as a result of that dismissal? How many would've ignored any feelings of fear, and carried on regardless?

    Ultimately the answer to the question "is it worth the risk?" must be considered by each individual photographer, they have to decide if the potential payback (morally, or monetary) is appropriate proportional to the trouble they incur. It's possible to get carried away and completely reckless with your own safety without even noticing the risks until after the event. It's important as a photographer to learn to notice a potentially dangerous situation and then take appropriate action, be it walking away, or going deeper into the rabbit hole. Learning to diffuse any potentially bad situation is an important asset in the arsenal of a photographer.

    I feel that every photographer must answer the question, what kind of photographer do you want to be? can you ever become a great photographer without taking a risk?


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  • Twitter

    posted by Fotofill on 18 Jul 11 12:58 Add Comment

    Find me on twitter at http://www.twitter.com/fotofill


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  • Soldeu

    posted by Fotofill on 27 Feb 11 03:19 Add Comment

    Hmm, haven't updated in quite a while. Currently sitting in airport waiting to depart for a ski resort - I have my camera with me, should get some beautiful scenic photos.


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