It’s been almost a year since I last wrote on this blog, I’m clearly not getting any better at keeping it updated.
I can’t believe how rubbish I’ve been at keeping this blog updated. Since my last post in June 2012 (!!!) so many things have happened that I’m struggling to know where to start….I feel like I’ve been talking way too much already about what I’m just about to say, but here you go:
I was extremely lucky to have my work online noticed by an Italian curator working in France who commissioned me a new series of photographs for my first solo exhibition.
For a long time, while I was at uni, my film of choice has been HP5, a classic 400 iso emulsion by Ilford.
To be totally honest with you, it wasn’t so much of an informed choice, as I only knew about FP4 and HP5 and I chose the latter simply because it was faster (FP4 is 125 iso speed) and I was shooting in available light, needing the extra speed.
At university we only had a kind of developer, ID11, and for three years I just shoot HP5 developed in ID11, happily ignoring the existence of whole of world of other films and developer combinations.
I know that most film photographers would be interested in this subject, so I decided to share my findings.
If you know any other shop that sells analog photographic materials at a reasonable prince, please write in the comments and I will add it to the list.
When I left university, I knew that I would miss the facilities immensely, especially the darkroom and the library, so, as soon as I settled in London, I started to hunt for a cheap rental darkroom to print my work at.
I’ve been looking everywhere on the internet and, I have to say, there aren’t many options in London for traditional printers, and most of them are too expensive for me, therefore I was delighted when I found out on a forum about a community darkroom in Homerton, literally round the corner from where I live, that apparently was one of the cheapest places where you could print both colour and black and white in London!
Photochats is a lovely lovely darkroom ran by Peter Young at Chats Palace, on Chatsworth road, in Homerton and I highly recommend it.
Unfortunately there’s no much information about this incredible place on the internet (they’re working at their website), so I’ve decided to copy their spring newsletter, with opening times, prices and descriptions of the facilities and of the courses, on this blog (after the cut)
When you work as a studio assistant, one of the perks of the job is that you get to use the studios to test.
The assistant’s privileges on the matter varies from studios to studios, each one has a different policy: same charge very little, just to cover expenses, or, even better, they don’t charge at all, others charge a reduced rate for assistants, while the right to use the space is granted depending if the assistant works full time or freelance, if he/she has worked at the studio for a long period and/or if he/she is a key holder.
I feel incredibly privileged to be able to use the amazing studios and equipment that we have at Sunbeam and I really should make the most of it while I can, so I decided to get over my preference for locations and daylight and try to test a bit more with the studios space and artificial lighting (both flash and continous).
I have already written about a rather successful (at least for my standards) test that I did with a couple of twins in studio 1, our biggest space, here and this time I want to write about a semi disastrous test that I did in studio 3.
One year has passed since I first wrote about my then new project about studio assistants and I feel is time to give some updates on it.
Lots of things have happened: old assistants have left and new ones have arrived… personally I don’t work at Big Sky studios anymore, but I’ve become a key holder at Sunbeam Studios, so I get much more regular work there.
I also work in another little studio/location, but I’m the only assistant there, so it’s irrelevant for this project.
I still have all of my Big Sky uniform stuff and I’m considering going back in the future to see how it has changed and which assistants are working there at the moment, but right now I’m focusing on Sunbeam and I really feel at home there.
I thought that it’d be nice to do little interviews with all the people who I photographed so far, I shall see if they’re willing to do it, but in the mean time, you can see the new pictures after the cut.