Print Competition Update!

Okay, so I know I don’t normally spam you with posts, but things just got a little lively.

You might remember I turned my ko-fi fundraising goal into a competition to win an A4 fine art print. Well doing that really put a rocket up the fundraising exercise!

My aim had been to raise a modest £100.00 towards film for my Salisbury Plain project, but the campaign has now reached £225.00! I’ve taken the decision to keep the campaign going until midnight BST on August 7th as originally planned, but to add an extra print prize to the draw for each additional £100.00 raised.

This, I think, keeps it fair on those who originally donated at the start, and offers fresh incentive to anyone still thinking of making a donation.

Remember, you can enter the draw for as little as £3.00 and I only want people to donate if they can afford it. If you want to support my work, but can’t afford to help with a donation, you can share the ko-fi/takeagander link and help that way too. I’m deeply grateful for the moral as well as the financial support.

The winners will be able to pick any image they like on takeagander.co.uk with the exception of Guest Artist gallery.

So, once more, here’s the link if you’d like to donate and be in with a chance to win a print: ko-fi/takeagander

Thank you so very much!

Tim

2020 and BEYOND!

Often at the close of a year I’ll put together an annual review, but 2019 was different in that it was the close of a decade.

So why didn’t I do a review of the decade? Simply put, I ran out of time. After three months of Bunker conversion, the end-rush to get it ready to coincide with the looming termination date of my tenancy at The Old Church School (eight years there!) PLUS client work PLUS admin PLUS Christmas, I had to make some harsh decisions about what I could and could not fit in.

In fact I was so busy, it barely sank in until quite late in December that we were in fact staring down the barrel of the 2020s. By the time I’d twigged, it was too late to put anything meaningful together. Sorry about that.

However, I’m now fully set up in the new space and although it’s early days, so far it’s working very well and I’m proud of what I accomplished in renovating what was a tatty-looking concrete structure, turning it into a genuinely usable, some may say attractive, workspace. I’m particularly chuffed that the only part of the project I didn’t tackle was the electrical installation. I may be insane, but I’m not mad! My general DIY skills have definitely improved with this project though, just don’t ask me to convert your shed/bunker/garage for you.

Returning to the subject of the turn of the decade, perhaps it’s a shame I didn’t get to look back and reflect, but I actually feel more in the mood for looking forward. After all, my photography of ten years ago is nothing like the work I’m doing now, and even further removed from where I want to take it in the coming years.

Through this year and the next few years, I’ll be working hard to build the fine art projects and prints side of my business (takeagander.co.uk) while continuing to invest in my corporate work, which still represents the bulk of my business.

The launch (see previous post) of the open air exhibition of panels from What Happened Here was a great end to the year and an indicator of the kind of outcome I’m looking for with my personal work – getting it out there and noticed and looking for new opportunities to shoot fresh work and see where it takes me.

With the corporate work I will of course keep developing my style, skills and services, but this relies in part on the personal projects which help me develop new practices outside of client time; I don’t believe in using my clients as guinea pigs for experiments.

What I’m aiming for is more of the same as in recent years, only bigger and better; my corporate work feeding my ability to shoot personal projects, with income from fine art prints and other uses of that work building up into it’s own sizeable income. I have plans, some vaguer than others, but plans nonetheless.

So if you’ll excuse me, I’m going to sign off now and start putting those plans into practice. In the meantime, do watch this space for news on forthcoming deals on fine art prints – I hope to announce something big soon.

Photos with Grace

Between running the Found Notes project, converting the bunker into an office, client work and a yet-to-be-announced exciting piece of news (watch this space!), I’ve also been trying to get out and about with film cameras to make new photo-documentary work.

That’s not easy when I seem to be in a phase of casting about trying to work out exactly what it is I feel I need to document, but while I work through that question it’s important that I don’t let that side of my practice grind to a complete halt. Apart from anything else, just getting out and looking and shooting pictures opens up ideas to possible new series, even if the pictures I take don’t present obvious answers right now.

One example is from yesterday when I got a few minutes to pop along the road to take pictures of local climate protestor Grace Maddrell. Her specific campaign is to raise awareness of the forest fires destroying rain forest in The Congo.

I’d seen Grace over the last couple of weeks, but yesterday was my first opportunity to make a few images. We started with a chat so I could get more background to her campaign and motivation, then it was a mix of posed and un-posed pictures to see what worked.

The image here is probably my favourite, though ultimately it’s just a fairly simple posed portrait. It’s possible I’ll re-visit Grace for more photos – it would be interesting to document her protest as it continues in different weathers and as the Winter really sets in. That may sound a little heartless on paper, but I want to show her dedication and she is very serious about this cause.

Grace spends her time protesting in her home town of Frome as well as Bath and Bristol and campaigns alongside the Extinction Rebellion and FridaysForFuture movements, but by her own admission her ability to travel is limited by her lack of funds. But at least she’s doing what she can.

If you’d like to follow Grace’s story, you can find her on Twitter as @ElmGrace. Go give her some support and if you see her, give her a wave and a smile, she’d appreciate that. Even better, join her on her protest.

In the meantime, I’ll continue to do what I can to document her campaign locally. It could become the unexpected next series.

Could the fair be more fun?

Every few years I’ll give in to temptation and pay a visit to the biannual Frome Wessex Camera Club camera fair held at the Cheese and Grain in Frome (you know, that place the Foo Fighters did a surprise gig in once; you must know where I mean).

I’m not a natural fan of camera fairs; I think I got over the thrill of standing in a room full of expensive gear I couldn’t afford as a shop assistant some time around 1989.

However the evening before the fair was on, a friend called and asked if I fancied meeting him there. The peculiar thing was, up to the point of that phone call I was oblivious the event was on.

At first I was reticent, but he’d only recently asked if I wanted to meet at another camera fair and I’d turned him down for that one. To avoid looking like a curmudgeonly hermit, I sad yes this time.

I think the last time I’d been to the FWCC fair was 2017, and 2013 before that, so I knew this was a risky place for me and my wallet to be.

So rather than having gear acquisition as my primary plan, I decided to use it as an excuse not only to see my friend, but also to test out and shoot some Ilford Delta 400 film rated at 1600. I’d shot some during my recent trip to Bologna, rated at 400, but I wanted to find the parameters of what this film can do and the flat, poor lighting in the Cheese and Grain is the perfect scenario for this. I thought I might get some interesting photos too.

Well the exercise was a useful one, even if the resulting images aren’t exactly dynamite. At least I know now this is a brilliantly versatile film, but for some reason I couldn’t ‘get my eye in’ so the photos are what they are. I’m posting them here to shame myself into doing better next time.

Of course you can go in with a wedge of cash and blow the lot on some very lovely gear – my friend did exactly that. In fact he picked up some genuine, if pricey, bargains alongside some very cheap non-pricey bargains, and the fair usually has something for any budget.

Even I picked up a fun little camera, thanks to my friend having loads of cash on him and me paying him back after. I know, I cheated.

My bargain was a red Konica C35 EF3 for £15, flash not working. It turned out that when the seller said the flash didn’t work, what he meant was that you could switch the flash on IF you wanted the camera to get fantastically hot/ you wanted the smell of burning electronics up your nose.

No problem though, I can use the camera without flash and it’ll allow me to play more in my ‘down time’. Or on a really cold day I can turn the flash on and warm my hands by the resulting electrical fire.

Now what I’ve been building up to very gingerly in this article is my impression that the fair was a lot quieter this time around than I’ve seen it in previous years. Fewer dealers, fewer visitors. I’m sure there used to be more of both and a lot more gear to tempt the canny bargain-hunter. It just felt a little hollowed-out.

Perhaps I got there too late in the morning for the real rush, but I got the impression it had been a little on the quiet side from the start.

In the past there were people selling historical prints, but none this time around. By way of compensation there was a table laid out with beautiful prints and cards for sale by contemporary photographers Roy Hunt and Martin Wade, who both work in traditional film (thumbs up from me), but again I got the impression they’d not been overwhelmed with sales that morning.

It would have been good to have seen more in the way of photo books on offer, or film and film processing equipment as this is enjoying such a resurgence amongst younger photographers. I did spot some film, but it was tucked out of site under a dealer’s table.

The one issue the fair does suffer is the almost exclusively older white male patronage. Yes, I fall into that category, but neither gender nor age balance would have been improved by my absence.

Another challenge the fair must be facing is that where film cameras used to take up a lot of table space, they’re becoming harder to source at a reasonable price. Some have reached collectible status and prices have gone through the roof. It’s also inevitable that as years pass, more of the old mechanical and electronic film cameras will simply die of old age.

The risk with the fair is that unless it attracts a younger and more diverse crowd, its dealers and visitors will also die of old age.

Perhaps a help stall where someone starting out could get free impartial advice about which kit to go for, and even guidance as to which dealer has what they need. More books, contemporary prints, an exhibition or perhaps a competition or other promotional events would help get people through the door.

For the fair to continue and thrive, Frome Wessex Camera Club will to have find ways of improving their reach. There needs to be better marketing to younger people, and better marketing over all since I was blissfully ignorant of the event until my friend called me. In fact as I exited the event via the cafe I bumped into a couple of friends who’d cycled in for breakfast. Even sitting in the room right next to the fair, they were oblivious to what was on in the main hall.

I’ve had a bit of a flurry of requests for work experience from Frome College students doing photography courses, so I assume the interest is there, but I didn’t see anyone of college age and I was there for a good couple of hours.

Photography is all about imagination, and this event definitely needs an injection of that to stop it becoming, like a broken old Zenith E camera, beyond worth saving.

Note: The next fair is 19th April 2020.

Christmas came early!

My film foray continues, and with it new ideas about how I want to work and the personal projects I want to use it for.

For a few years now I’ve had a hankering for a camera which had no reliance on batteries. Unbelievably, in all my 30 years as a photographer, every camera I’ve ever owned has needed at least a couple of LR44 button cells to make the shutter work.

It was never a problem, but when looking at secondhand film cameras now (s/h being the only option since nobody makes a 35mm SLR or rangefinder film camera any more), we’re talking about cameras between 20 and 40 years old which all have electronics in them, and circuit boards being rather delicate, specialist parts, it’s less likely they’ll be repairable in years to come.

My very electronic Canon EOS 1N cameras are going well and I’m confident they’ll keep going for several years to come, but an all-mechanical camera, albeit an old one, is still more serviceable than one packed with fine ribbon circuit boards, motors and silicon chips.

Which is why when a Nikon F2 popped up in my Facebook Marketplace, I stopped in my tracks and took a good look.

The Nikon F2 is something of a legend, but I won’t bore you with the full history of this model right now. Suffice to say, it was ‘the’ camera of choice of photojournalists from the early 1970s to the 1980s (when the battery-reliant F3 came out) and finding one in good condition now is getting tricky; they’re actually becoming collectible (aka stupidly expensive). It takes a couple of button cells, but they only work the meter. The shutter is completely mechanical, so if the batteries die, I still have a working camera in my hands.

The particular one which popped up in my Facebook feed looked to be in fantastic condition and even better, it wasn’t a million miles away from me. So I dropped a tentative line to the seller about having a look at it, while assuming I’d never hear back.

Far from it, the seller called me almost immediately and we got chatting. Long story short, we met an hour later and I bought the camera (with 50mm lens). An early Christmas present to myself then, albeit one with some serious intent.

Even though it’s had little use since it was bought in 1973, the camera will need a service. The slower shutter speeds are a little dodgy and it’ll do it no harm to have the original lubricants cleaned off and replaced along with any decayed foam seals (though the film door and mirror box foams look incredibly good).

The camera is already booked in to be serviced by the one person in the UK who specialises exclusively in servicing and repairing Nikon F2s, Sover Wong. Sadly his waiting list is over a year, but he’s assured me I should be fine to use the camera while I await my slot.

The downside of it being a Nikon is that I can’t use any of my Canon lenses on it, but that would have been the same if I’d bought Canon’s last mechanical camera because Canon changed their lens mount system for the EOS autofocus cameras, so my EOS lenses don’t fit older Canons. Complicated, ain’t it?!

Thankfully, I’m only interested in using a very limited set of lenses with the Nikon and I can build these up over time.

In the meantime, I’ve put a couple of rolls of Kodak Tri-X through this amazing machine and I’m happy to say it seems to be working just fine. Even the meter is accurate, which isn’t bad for a 45-year-old camera. Yes, it’s only 7 years younger than me, but it looks prettier and less wrinkly.

In time I’ll be using it for personal projects and personal work where the scream of my Canon’s built-in motor-drives are perhaps less appropriate. Keep watching for updates!

What Happened Here

I’ve settled on this as the title for my Saxonvale series because it sums up the nature of the project; a semi matter-of-fact record, with touches of humour, drama and sadness. The title hints at the disappointment that land which should have been developed decades ago was left to ruin, but perhaps I should be thankful it wasn’t or the project would never have existed.

Things are definitely winding down in terms of new pictures and the site has now been almost completely boarded out. I’m seeking a final few closing images to round out the project, but I really have to get the next stage (a book) moving.

What has struck me is the incredible timing with which I came to start the project. Early on I wasn’t sure I had a project, but once it became obvious it was happening I knew I had enough expired film to get me through about a year of shooting it. Sixteen months later and I’m down to one last roll of the original batch of film (I did find a second source, just in case it overran) and the site has been bought, boarded and awaits demolition and reconstruction.

Unless Saxonvale is about to enter another extended period of neglect, I think my timing has been incredibly serendipitous.

So while I’ll try not to bang on about it too much on my Instagram account (@takeagander) or here, do watch this space and I hope to bring occasional updates regarding the progress towards a book. When the time comes, I hope you’ll be able to support it!

Analogue Dialogue

Yes, I’m back to talking about film. Except this time I’m talking about me talking about film, so it’s all getting a bit meta as people like to say these days.

Getting to the point, after I had an article posted on Petapixel back in January this year, I got an email from Bill Manning at Studio C-41 asking if I’d like to do an interview with him for their podcast. The opportunity for me to talk about myself? Well of course I didn’t say no!

Studio C-41, based in Atlanta, Georgia, USA, is a fun and informative regular podcast (available on iTunes and through the C-41 website) which discusses news, developments, ideas and artists mainly, though not exclusively, involved in analogue film photography. It’s worth having a listen if you want to know what’s going on, and more especially if you want to hear hep cats like myself spouting forth on the subject.

Well rather than me writing a load of words about me talking a load of words, head over to the podcast and hear my pearls of wisdom for yourself. It is 39 minutes long, so you might want to arm yourself with a cup of tea and a packet of digestive biscuits. Here’s the link for you.

 

So… 2018

Having looked back at 2017 in my previous blog post, it’s time to gaze into the crystal ball, check the tea leaves and the alignment of the planets and hazard a guess at what this, my 20th year as a freelance photographer, will bring.

It’s always hard to predict. Each year brings surprises, both good and bad – mainly good thankfully, and if the last couple of years are anything to go by, I will continue to find new clients while work from others will go quieter. It’s the natural cycle of business and no longer terrifies me the way it used to.

I look forward to working with new people just as much as I enjoy undertaking repeat work for established clients and I know there will be a similar mix this year as ever.

2017 was incredibly busy, and it’ll be interesting to see if 2018 can match it, but even if the shape of the year is different I’m sure it’ll be just as much fun.

What will make 2018 quite different from previous years will be the level of personal work I hope to undertake. The Saxonvale project continues to grow and there’s a possibility it will come to fruition this year, though I have a funny feeling it will continue into next year. It partly depends on how much longer my stock of expired film will last.

In addition to Saxonvale I have ideas for other, possibly smaller, self-contained mini projects which I would like to pursue. One thing is certain, my personal projects will be shot on film. Getting back into shooting film has transformed my approach to personal work and I find it a great way to separate the personal from the commercial. It also informs my commercial work and keeps me fresh, so there’s no going back to digital-only now.

Whatever 2018 brings for me, I hope it brings my loyal readers, clients and friends every success in whatever they set out to achieve and I look forward to hearing from some of you over the coming months.

2017 In Review

In keeping with a tradition which stretches back oh, at least some years now, it’s time for me to review my year in pictures. I hope you enjoy the brief selection of photos in the gallery below.

Actually, what an incredible year it’s been! I’m not sure I’ve ever had such a busy year since I went freelance 19 years ago, so I’m looking forward to 2018 more in anticipation than trepidation.

January was a total whirlwind as the Faces of Routes project went from conception to launch in less than five weeks. The reaction from Frome people and beyond was stunning (and I don’t often use that word) and the Routes service was saved for another few years. In an ideal world, this service would be centrally funded, but for now it relies on donations and grants.

The Routes project largely came about because I was itching to do a personal project with a bigger purpose, but it also gave me the boot up the backside I needed to spur me on to undertake more personal projects generally. So it was good timing when a neighbour offered me his old medium format camera and lenses at a very reasonable price.

I’d been meddling with film again in a lighthearted way, but finding myself well-equipped with a solid film camera, and having dusted off my old 35mm film equipment, something was starting to take shape.

After a couple of false starts, out of some random whim that I can’t now remember having, I acquired a freezer drawer full of expired film of varying types and formats and the Saxonvale project was born. It doesn’t yet have its own gallery in my portfolio, but you can spot some examples in my Personal Favourites section.

So far Saxonvale has largely been an Instagram project, but I’ll add more to my website in time.

Through all this, the paid work has just kept coming; January turned out to be much busier than I would normally have expected. In fact that pattern repeated through the year, including August when my diary would normally have tumbleweed blowing across it.

Now it’s mid December and things are definitely winding down a bit for Christmas, but it’s been another good month. So I’ll leave you with some highlights from the year and take this opportunity to thank you all, clients and casual visitors alike, for all your support through 2017.

I wish everyone a merry Christmas, happy New Year and all the very best for 2018. Oh and this will be my last post this year, see you all in January!

 

Impressions of London

The other week my son Joe and I took a day trip to London. We try to make it each year, normally in Summer, but this year was a little later than normal.

Apart from the tradition of the trip, Joe also had some pictures to take for his college photography course. So naturally I took a film camera to capture some of my own impressions and just to have a play with more film.

Joe’s work took precedence, so I did only get around to shooting one roll of Kodak Tri-X which, because it was a dismal day, I rated at 800iso.

Here are the results, with special thanks to Brick Lane’s finest leafleteer Charlie Kloos for posing while I messed about with a Pentax lens from the 1960s, which was a little tricky to focus as the evening light started to fail.