Migration is a not a new phenomenon. But it comes to our attention regularly. News stories are abundant. From terrible tragedies at sea to local communities going to extraordinary lengths to help to migrants. As a photographer, I wanted my photography to contribute positively to the plight of migrants. The question was how? I did …
Weeks of lockdown were beginning to play tricks on my mind. That was the only possible explanation I could come up as I checked the screen confirmation on Amazon that I had indeed bought a new light meter, the Sekonic L398A, mk 111 version. I already have a light meter, the excellent if perhaps somewhat basic Minolta Auto Meter 111. What had persuaded me that I needed the Sekonic L398A?
In these quite extraordinary times of Covid – 19 it is a challenge to all photographers to capture images of what is probably going to be the most significant event of this generation. It’s a challenge because the UK, like so many other affected countries, is in lockdown and citizens are supposed to be out only for essential shopping and one form of short daily exercise.
What makes a good portrait? Can we really expect a single image to reveal a person’s character? Or even a side of their character? And does the quality of the image matter – do we need to see every wrinkle and skin blemish? Can black and white still do the business?
As a film photographer, I’m in the fortunate position of being able to print my own work, both colour and black and white, in a darkroom. For some few years now I’ve been renting a place in a darkroom in London. But my first taste of the darkroom experience was in school – it’s an experience which changed my life giving me an interest in film photography that has stayed with me ever since. When digital first appeared I admit I was tempted, but the magic of seeing your negatives emerge from the developing tank or a print taking form in a developing tray simply cannot be beaten.
