Leica M Monochrom. Part 2 - Early Work

I feel as though we're learning each others' strengths and weaknesses at the moment. I think we're starting to get somewhere and I'm gonna be brave and share the early attempts with you all.

We've got straight shots, composites and multiples in here and I'm learning Lightroom 4 and NIK Silver Efex Pro 2 as quickly as I can.

Leica M Monochrom. Part 1 - Perspective and Synchronicity

So here I am. Suddenly I'm the owner of a camera that was, or so I thought, beyond my wildest dreams. This camera is like no other I have owned before. To put it into perspective, every camera or piece of equipment I have owned so far has either been classed as a student/beginner or serious enthusiast.

Praktica BX20 (student/beginner)
Pentax MZ-M (student/beginner)
Fuji Finepix S7000 (bridge camera)
Polaroid 600 Instant Camera (fun)
Nikon D300 (serious enthusiast)
Axomat 5 Black and White Enlarger (student/beginner)

A Leica system was just too far out of reach financially - a possible option when my lottery numbers came in.
 

I'm an experimental photographer. I started learning black and white photography at school when I was sixteen and within a year I was making photograms of bubble wrap and scratching into negatives. I have no formal qualifications in photography, only general art and graphic design (specialising in illustration), but I've spent a lot of time in the darkroom; dodging, burning, toning, multiple imaging, reverse printing, diffusing with a pair of tights, adding texture with crumpled papers, composite printing, etc, etc... I've turned a tiny bathroom into a darkroom, balancing the enlarger precariously on the toilet seat, and it looked like Doctor Who had visited when I started using a 6 foot by 4 foot enlarger tent in the new house. I'd say 95 percent of all my photographs up to the digital work was black and white. Colour just wasn't my thing for at least 10 years.

Nowadays I'm trying all these options in Photoshop (the modern enlarger). After all that messing about, it seemed odd not to. If it enhances, rather than destroys, go with it. Enjoy yourself. See what you are capable of, you might just surprise yourself.

The Leica M Monochrom is a "pure" camera, but we're working each other out, finding a language that suits us both. It's saying "I can offer you this or that" and I'm saying "Brilliant, let's see what this can do?" For at least a day I was terrified to carry the thing about. Not being used to the rangefinder style I'm ashamed to admit that I've taken at least three shots with the bloomin' lens cap on!

The results out of the camera are simply fantastic. The grain on ISO 320 is practically non existent and the tones are awesome. I don't know if sticking lots of paper and texture over the end result is gonna work with this one, but there are other ways to tinker. My mind's working along composites, slowing down the speed and double / multiple exposures. (My photographer of the moment is Francesca Woodman and I'm really relating to the essays by Chris Townsend in the Phaidon edition ISBN 9780714844305).

I'm sure we'll work something out. It's still early days.


A good friend sorted through his late father's belongings earlier this year and as I was into photography he kindly gave me a box of very old screw thread Leica lenses and filters. To be honest, I was going to wait a while and put them in the ebay pile as a Leica camera to go with the lenses was not a likely option. And now, after a little research on the internet and three Voigtlander adapters later I've got a four lens Leica system and I'm having so much fun with it all I think my wife feels like a camera widow.
 

Competition Update. Black and White Photographer of the Year 2012

I WON !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

I am the winner of Black and White Photography Magazine's, Black and White Photographer of the Year 2012 Award.

Have I come back down to earth? Have I heck.

The Leica M Monochrom was presented to me at the Leica Store, Mayfair, London, and I have barely let go of it since. I had to dash from the ceremony earlier than I would have liked to get the last boat home, but I got a chance to speak with Elizabeth Roberts and some of her fantastic staff and colleagues. My nerves were off the scale, but it was a brilliant evening and all the work in the room was of such a high standard I feel honoured and humbled to have been a part of it.

I've been entering competitions for some years (I think this was my fourth or fifth time with this particular one) and although I've had positive feedback I've never won and I guess you get used to not winning. I had no idea this would be 'The One' and it's knocked me for six. It's a shame my Dad isn't here anymore, I would have loved to have told him in person, but some strange things have been happening since he died and I'm pretty sure he knows. I think he would have loved all the attention.

Competition Time - Black and White Photographer of the Year 2012

It's that time of year again - Black and White Photography Magazine's Photographer of the Year 2012 Competition.

I struggled this time - due to all sorts of emotional complications that 2012 will forever be remembered for - and only just managed to create a set of images and submit them in time for the final deadline. I wasn't sure what to create and for at least two days nothing seemed to work. Then these just happened. I don't know quite where they came from, but I like them. I think I just needed to switch off and let whatever it is that helps you out in these moments (creativity? inspiration?) take over.

I've managed to get through to the next round and the prints should be with them by now. Fingers crossed.

I'm on a bit of a mission to win a major competition within my lifetime.

The first three photograms (hand, crickets and damselfly were entered into the Black and White Photographer of the Year category). The final picture of the tomato plant was entered into the Living World category.

www.thegmcgroup.com

Tim Andrews' Parkinson's Project - Over The Hill

I was contacted some time ago by a chap called Tim Andrews, explaining that he had been diagnosed with Parkinson's Disease and was approaching photographers to see if they would like to photograph him for an ongoing project entitled Over The Hill.

After a while we arranged to meet and I invited him down to the Island to spend a day with me. The weather was drab and dreary and, because of this, all my plans kept changing on the journey to meet him at the boat. I tried to find a way to turn the day into something more productive and successful.

When we met we chatted for a while then off we went and I endeavoured to show Tim as much of the Island as was possible, stopping every few miles or so to stretch our legs and take photos. It was very relaxed and informal and we had a brilliant time of it, talking all the time and finding out about each other.

I think I might have said "give me a couple of weeks to get these pictures finished", but sometimes the work takes longer than expected as I try to gather the right elements to complete the piece. The photographs themselves can take a while to tell me the direction they wish to be taken. But we get there in the end.

Tim was a pleasure to be with all day and I hope that our paths may cross again someday.

Please visit Tim's blog for further reading on his Over The Hill project.
http://timandrewsoverthehill.blogspot.co.uk

 

Published work

A selection of recently published work taking the total count to 375 book covers in 23 countries.

Published work. June 2012

Recent sales from Trevillion Images has taken me over the 300 book cover mark and my work has now been sold in 20 countries.

Ghosts within the asylum

The ghosts are there.

Everywhere.
Whispering and wittering.
Chattering, chittering.
Hollering and howling.

LISTEN TO ME!

LISTEN to me!

listen to me!

My precioussss....
sss...
ss..
s.

Listen to my madness.
Listen to my thoughts.
My ghosts.
Trapped within the asylum.
With only you to listen.
 
You think you are alone in this deafening clamour until you look around and watch -and here I mean watch closely - the faces of those about and you realise that each and every one is dealing with the same internal personal discussions to a greater or lesser extent and bearing up with ease or weakness. Try, wherever possible, to open the heavy wooden doors that keep these creatures festering in the dark and let the light come in, strong and bright, as it is hard to notice a ghost within the brightness of daylight.

Watching the moon in the rear view mirror

So there I was, driving along the downs - one of the highest points on The Island - and I'm heading straight toward the most fantastic moon. The biggest, brightest I've seen in a long time. I swear you could have reached out and touched it, it was that big. I had no camera, nowhere to stop and traffic up me jacksy. When I got to the next junction I had no choice, but to turn and drive away. I watched it in my rear view as long as possible.