35mm 120mm

You don’t understand! I coulda had class. I coulda been a contender. I could’ve been somebody, instead of a bum, which is what I am.

Terry says this to Charlie at the end of the profoundly intimate taxicab conversation where the two tense brothers are alone for the first time in the film. Charlie, who cares deeply for his brother but hasn’t looked out for him properly, allows himself to deny the reason for Terry’s failed boxing career. He condemns mistakenly the rotten trainer who supposedly mismanaged Terry’s skills. But in truth, Charlie’s association with Johnny Friendly meant that the union had a boxer it could control. Through Charlie, Johnny Friendly ordered Terry to tank a big fight, guaranteeing himself a huge payoff by betting on the opponent. Even though Charlie made sure Terry got a bit of cash, Terry complains here that Charlie killed what was really at stake—his soul, his pride, and his self-esteem. This well-known quote reveals the complexity of the brothers’ relationship and expresses Terry’s deep inner pain that the relationship probably cannot be salvaged. The brothers love each other—but Terry now acknowledges his brother’s partial responsibility for his current bind, and he finally realizes that he can escape the label of “bum” only through his own actions.

portfolio 45

From Document mag 76

Here are some of the photographs from the installation art from Channel Four's programme, "The Human Footprint". This was a documentary that showed the viewers directly and shockingly what the average UK citizen will consume during their lifetime in a very visually and aesthetically pleasing way. This documentary really demonstrated how facts can sometimes not be hard hitting enough but if they are presented in a certain way visually they will make a strong impact on the viewer. The documentary also highlighted how Western consumerism uses up vast quantities of World resources and how one person can have such a huge impact

Have you ever wondered what it would look like if all the clothes, washing machines and toilet paper you ever used were piled up outside your front door? Or if you were to lay out all the bread you will ever eat or cups of tea you will drink? This beautiful, landmark film uses art and science to explore the impact each and every human has on the planet in an average lifetime, demonstrating the massive scale of everything consumed and produced in one lifetime.

Featuring a series of arresting art installations and mind-boggling statistics, Human Footprint follows the average life journey from the cradle to the grave, showing just how much, how often and for how long we will each consume. How much food and drink we will devour, how many tears we will cry, how much hair we will shed and how much waste matter we will process through our bodies – all within the 2 billion 475 million, 5,076 seconds that each of us will, on average, spend on earth.

Human Footprint also features several experts, who explain the science behind the installations and explore the profound effect our individual footprints will have on the planet. From our babyhood – when we get through a massive 3,796 nappies and produce 254 litres of urine – through to our old age and death – by which time we will have had sex 4,239 times, eaten 10,866 carrots, taken 7,163 baths and done an average of 15 farts a day – this extraordinary film tells the story of an average life, the story of our human footprint

"Hot on the heels of climate change, this documentary focuses on the impact each and every one of us has on the planet."
David Smith - The Sunday Times

Rodney Graham Born 1949, Vancouver, Canada.

Here is one of my photographs for which I got inspiration from Rodney's portraits of trees. I tried to produce a whole series of tree portraits comprising of similar compositions.
I think this works very well because of all the details you can see on the branches that are not covered in leaves. This may be taken as representing a family tree covering generations dating back hundreds of years.
This was taken with a medium format camera and a 37mm lens in order to get the entire tree in the photograph.

Here is one of the original prints that I saw in the Bahnhoff Gallery in Berlin
In my opinion, I feel that Rodney is trying to demonstrate how natural forms such as trees can outlive us and still have the same presence as when it was viewed by Napoleon Bonaparte centuries ago.


Napoleon Tree
The photograph Napoleon Tree portrays an aging form found by Rodney near Waterloo, Belgium in 1996 as part of a research project into trees of historical significance. It is said that Napoleon Bonaparte once lunched at it's base before continuing his quest to Waterloo. Rodney Graham's study of trees and the landscape have figured prominently in his work for decades as both portraits of nature and as icons of individualism. This lone tree, while playing with our point of view, has much character and is a striking composition of colour, texture and line all framed by the uneasy depiction of upside down space

Tree with Bench, Vancouver, B.C.

h: 52 x w: 26.5 in / h: 132.1 x w: 67.3 cm

Welsh Oaks (#1)

1998

48 x 36 inches / 121.9 x 91.4 cm49 1/2 x 37 1/2 / 125.7 x 95.3 cm inches framed

Rodney Graham

Rodney Graham is an internationally acclaimed Canadian artist working in a post-modern realm. He is known primarily as a performance artist whose conceptual forms span video, photography, music, sculpture, drawing and installation.
William Rodney Graham was born January 16, 1949 in Abbotsford, British Columbia. As a youngster, his creative interests included listening to Rock and Roll music, learning to play the guitar and always loving to make things in art while at school. Upon graduation from McGee Secondary School in Vancouver in 1967, he enrolled in the Faculty of Fine Arts at the University of British Columbia and embarked upon the formal study of art history and studio art. Strongly influenced by early twentieth century Dada and Surrealism and, by instructors Ian Wallace and Tom Burrows, he was always keen to challenge preconceived notions of art and push boundaries of established forms of expression.
Following university he embarked upon an art career pursuing his unique and creative vision. He also nurtured his love of music and formed a New Wave rock group UJ3RK5 with fellow artists Jeff Wall, Ian Wallace and writer William Gibson. As a conceptual artist exploring the human experience he became fascinated by the optics of light and seeing. He explored pin-hole cameras and researched the Camera Obscura, an ancient scientific device which inverts imagery. His interest in this device continues to this day and has become the focus of much of his work in photography. While his art has taken many forms since the late 1970s, upside down imagery has become a personal metaphor to his view of the modern world.
Rodney's conceptual work reached a major turning point at the skulpturen projekte in Munster, Germany in 1987 and from that time, has received prominent recognition world wide. He is a prolific creator and has exhibited a wide range of art forms. His work can be found in numerous major private and public collections in North America and in Europe including the Museum of Modern Art in New York City, the National Gallery of Canada, Ottawa, the Vancouver Art Gallery and the Van Abbe Museum in the Netherlands. He has received many honours including being selected to represent Canada in the prestigious Venice Biennale in 1997. He also received an honourary Doctorate from the Emily Carr Institute of Art and Design in 2002. Rodney Graham currently lives and works in Vancouver, BC.

Hamburger Bahnhof - Museum für Gegenwart - Berlin21 March - 10 August 2008
Becoming Visible. Photographic works from the Friedrich Christian Flick Collection
Sichtbarwerden. Fotografische Werke aus der Friedrich Christian Flick Collection
Alongside monographic exhibitions of works by Anna & Bernhard Blume and Wolfgang Tillmans, the collection presentation in the Rieckhallen features selected positions in artistic photography, and genre that has increasingly gained importance in the visual arts since the 1970s. Featured are works by artists who have elaborated their views of the world photographically in a variety of ways. Centrally significant are questions concerning the physiology and psychology of vision and those related to the social, economic, historical, and cultural contexts referred to by these photographicmotifs.In an era characterized by the mass production and distribution of photographic imagery, numerous questions are raised by views of locations, buildings, landscapes, and passersby that have been as seized by the camera: What precisely are we seeing when contemplating these images? What relationship do they have to the reality they represent? Does the reality seen in photographs become perceptible only through them, or do they instead render strange a putatively familiar reality?On display will be works by, among others, Jeff Wall, Rodney Graham and Stan Douglas, by Bernd and Hilla Becher, Candida Höfer, Axel Hütte, Thomas Ruff and Thomas Struth, and by Peter Fischli & David Weiss and Beat Streuli.
Presented by:
National Gallery

This campaign series for "Direct Line Insurance" has been taken directly from the Pink Floyd film. These two videos are both shot in slow motion with some of the fastest shutter speeds available, using more than 25 frames per second to create a whole other world that the human eye is incapable of seeing in naturally..

white balance The kelvin

Color temperature is a characteristic of visible light that has important applications in photography, videography, publishing and other fields. The color temperature of a light source is determined by comparing its chromaticity with a theoretical, heated black-body radiator. The temperature (in kelvin) at which the heated black-body radiator matches the color of the light source is that source's color temperature; for a black body source, it is directly related to Planck's law.

The kelvin (symbol: K) is a unit increment of temperature

The kelvin is often used in the measure of the color temperature of light sources. Color temperature is based upon the principle that a black body radiator emits light whose color depends on the temperature of the radiator. Black bodies with temperatures below about 4000 K appear reddish whereas those above about 7500 K appear bluish. Color temperature is important in the fields of image projection and photography where a color temperature of approximately 5500 K is required to match “daylight” film emulsions. In astronomy, the stellar classification of stars and their place on the Hertzsprung-Russell diagram are based, in part, upon their surface temperature. The Sun for instance, has an effective photosphere temperature of 5778 K

Daylight - 5000 K to 7,000
Home light bulbs (tungsten) 2700 K
Fluorescent tubes 3500 K

An exhibition that I went to interested me greatly but the poster photograph is not the actual winning image and this is quite surprizing

Exploration of .120 film and 35m

My first time using 120 film and 35ml on HP5 and Fuji Pro 4001SO

A 6x7 negative on HP5 Black and White. I had difficulty in loading the negative into the spindle which resulted in a tear. Once put in the spindle one should add 300 developer and 300 of water at 20C if possible. Because it is HP5 and the temperature was at 22 degrees one should develop it for 12 and a half minutes aggitating it every minute for 10 seconds to make the developer and the water mix together. As the developer sinks to the bottom when it is in the minute of rest.
Because it is 120 and it is much bigger than 35m one should do it for 2 to 3 minutes longer. the higher the ISO, the faster the developing time but the slower the ISO the more time is needed for the developing.
Once after the 12.5 minutes one should pour out the developer and rinse it out with water twice in order to wash out the developer completely, making sure that the water comes up to the top each time. Then one should put 600m of fix agitating this every 10 seconds of every minute. 6 minutes is always the same for 120 or 35m
After this, one puts it under running water for 20 minutes in order to wash out any impurities.
After this, one should put in the wetting agent which helps to remove the water and bubbles and streak marks.
Then one should put it in the drier for 20 minutes till it is dry and not open the door until it is dry as this would suck in dust and would stick to the film immediately



Here is an example of a C41 colour negative of Fuji Pro 400 which was processed at Dragons for 2.99
As it is a colour negative, the colours are less saturated as it is easier to produce a correct image which is properly exposed than on E6 which is not as tolerant and is more saturated.

This is an example of a cross process E6 film from 120 Fuji Velvia ISO 50. Due to the low ISO this film is extremely slow but produces very high quality images with no ISO grains to get in the way for the image is amazingly sharp and extremely saturated in its co lours.
For this image I put the camera on mirror lock due to the long exposure as the mirror plate would not judger the camera when the shutter is opened as the mirror plate is already up. Putting the camera on bulb setting and leaving it for 40 seconds on aperture 8 whilst firing the flash gun around the tree to create highlights and back lights for the tree
These photographs were shot on a Velvia ISO 50 on 35 ml and 120 film

Fuji FP 100 C colour polaroid for RZ67