Spring 2015 Issue is here!

Before there was Photoshop

A nice little video here showing where some of the Photoshop tools got their origins.  This is Konrad Eek making a black & white print.

Film Photography Podcast - New episode

The new episode of the Film Photography Podcast has been released this week.

The show is packed with plenty of features including:

Leicas, old film and fixer problems
An introduction to medium format photography
A quick, cheap fix for broken bellows
The Argus A
Cambo 4" x 5" - The students large format camera
Book of a show

Once you start listening to these you'll be hooked and want to listen to the back issues.

Getting off manual

My first SLR camera was a Zenith 11.  It was a big solid Russian brick and for me it was the perfect introduction to SLR photography.  The camera was manual focus, with needle and ring metering  You had to set the aperture and shutter speed for appropriate for what he needle and ring meter was telling you.  In other words it was completely manual.

I now have a Pentax K1000.  That too is a fully manual camera.  The difference between the two is that the K1000’s light meter is in the viewfinder.  I don’t need to take the camera away from my eye.

My Micropress 4”x5” pinhole camera is totally manual.  It doesn’t focus.  It doesn’t have a shutter and it has a fixed aperture of f512.  It doesn’t even have a light meter.  I have to work that out in my head using ‘sunny 16’ rule or use an app on my mobile phone.  Generally, I opt for ‘sunny 16’.

I also own an Olympus Trip 35.  It’s a fantastic little camera.  It’s mainly automatic.  You use a zone focus system to focus the lens and the aperture and shutter speed are chosen by the selenium light meter.  It’s such a clever piece of engineering it doesn’t even need batteries.  I love using this camera.  It’s so much fun.  Even my kids like using this camera!

My DSLR is a Pentax KX.  I love this camera too (as you have probably gathered from previous posts).  It has these nifty little modes on it PASM.  I use PAS a lot.  I only use M on very limited occasions.  It has autofocus.  Again, I use this more than I have it turned off.

Does this make me any less a photographer?  The answer, in my honest opinion, is a resounding no.

I do find it amazing that some photographers believe they are not a photographer unless they are shooting in manual mode.  I would love to know where this opinion has come from because I do believe it to be utter nonsense.  Why?  Well read on and I’ll tell you why.

Let’s start with autofocus.  The autofocus on my KX works.  It nails the point of focus I am after 99% of the time.  The only time it starts to fail is if there isn’t enough light or scene contrast.  I know my camera well enough to know this and will then flip to manual focus.  That being said, there is absolutely no way I can focus as quickly and as well as my KX.

Now on to determining shutter speed and aperture; whenever I have seen someone using manual I have asked them how are they are measuring the light.  All of them have told me they use the cameras light meter.  Now forgive me if I am being naïve but as I understand it, in any of the automatic modes the camera measures the light and sets the ISO, aperture and shutter appropriate to the conditions in order  to give you the best photograph possible.  If the camera is in aperture priority mode then it will measure the light, and set the ISO and shutter speed appropriate to the aperture that you have chosen.  The same can be said for shutter priority mode where the ISO and aperture are set for the chosen shutter speed.

Again, my KX has software built in to it that can make these decisions in a fraction of a second.  I know I cannot possible read my light meter and dial in the appropriate settings anywhere near that.

I suppose that the point I’m trying to make is that the major camera manufacturers has invested millions in to developing Auto PAS systems that are quick, efficient and accurate; they have invested time and money to make it easier and more practical for you to go out and shoot photographs.  You have spent hundreds if not thousands of pounds buying a camera that has these capabilities.  Why turn them off?  If you want to learn how to shoot manually, why not buy a totally manual film camera?

Shooting in Auto PAS modes does not make you any less a photographer.  It makes you a wise and happier one!

To end the week

It's time to say goodbye for another week.

This weeks photograph is one that made me chuckle for quite some time.  Some of members of Blackburn Camera Club including our Liam and Bob went off to Whalley for a spot of night time photography.  What came back is a haunting photograph now known as Zombie Bob.

Have a good weekend!!!  See you Monday!

To end the week

It's weekend again!  How quick does these weeks go by?  Why not get out this weekend with your camera?  You've still got time to bag a great shot for the Lancashire Open Exhibition.

This weeks featured photograph is from new Pixel friend Ian Dacre.  Although Ian is from outside Pennine Lancashire he joins us hardy hill folk by association and I would like to offer him a warm welcome.  A couple of weeks ago Ian and Liam had a trip out to Blackpool and came back with some really nice shots.  I particularly like this one of Ian's.

If you would like to see your image as our To end the week photograph then drop your pictures in to our flickr group or send us an email.

Happening tonight

Art SPACE is a monthly meet-up for local creative people to come together and share ideas, exhibit, hang out, perform and network.

Each meeting involves live music and/or performance, exhibitions of artwork and workshops where you can either offer or learn a new skill.

There is also a tasty buffet and a relaxed atmosphere to meet other local artists.

Some space will be made available to exhibit work and a digital slideshow is shown that you can submit to. All submissions are welcome- whether it is your first attempt at something or a technique you’ve been doing for years.

There is also a stage for performance- dance, singing, music, poetry etc  And while there are often acts invited to perform there is also a chance to participate in the open mic slot on the night.

Workshop sessions also include life drawing, interactive installations and photography.

This is a grassroots event – bring what you would like to find, get out what you put in!

To submit ideas or artwork email info@blackburnartspace.org.uk

Follow artspace here facebook.com/artspaceblackburn

6.30pm-10pm.  St. John's Centre, Victoria Street, Blackburn.  Entry fee £3.  All ages welcome.

Bewitching new residents of Nelson's Victoria Park take shape

Yesterday families were invited to Nelson’s Victoria Park to discover more about a magical trail coming soon to the park!

Chainsaw artist Mike Burgess will be giving a demonstration as he creates the first of the trail’s spellbinding characters.

The new sculpture tail will take visitors on a one mile walk around the Nelson park, with lots of different activities along the way.

Councillor Nadeem Ahmed, who represents parks in Pendle, said:

“We’re really excited about our plans for the witch-inspired trail and we just know local families are going to want to come and see it for themselves.

“Mike Burgess’s carving demo will give them a little taster of what’s to come.”


Victoria Park’s witchy trail is being funded through Up & Active, a new health improvement programme to help Pendle people improve their activity levels. Visit www.upandactive.co.uk to find out more. 

Lancashire Photography Open Exhibition

To end the week

It's the weekend again and time for us to sign off and get out with our camera's.  I'm about to go and shoot some film in Nelson.

This weeks featured photograph is from Sarah Davies.  You'll see a bit more from Sarah in the coming weeks and remember if you would like to see one of your pictures featured in our To End the Week Spot then drop them in our Flickr group and if you are chosen we'll be in touch!

Have a good weekend!!!  See you Monday!

Updated: Blackburn's Cinematography Pioneers

I had a nice surprise in my emails this morning.  Barry Noon, the President of Blackburn and District Camera Club and friend forwarded an email about an 1880 camera built by Sagar Mitchell of Northgate Blackburn.

Sagar Mitchell

It turns out that Mitchell was one half of Mitchell & Kenyon that were early film pioneers in the late 1800’s and early 1900’s.

Mitchell had been a photographer and manufacturer of photographic equipment while Kenyon had manufactured automated slot machines.  The combined talents of the both of them would lead to developments and archives that still exist today.

They formed their partnership in 1897 under the trade name of Norden and the company became one of the largest producers of film in the United Kingdom.  Their first showing of a film was reported to be of Blackburn Market (that was located in King William Street adjacent to the clock) and was show at Mitchells premises of 40 Northgate on the 27^th November 1897.  In 1899 a travelling showman commissioned the pair to make a film of people leaving factories for the Easter Fair.  The same year Norden released three fictional films, The Tramp’s Surprise, The Tramps and the Artists and Kidnapping by Indians.  These led to more and more commissions from travelling showman and cinemas.

Norden soon outgrew it premises and the pair bought 22 Clayton Street which would become Blackburn’s very own film studio.  Although their production of fictional films was limited they had an indoor and outdoor studio at the premises as well as using locations.

The pair made films across many genres their most famous and historically important being their ‘topicals’.  These were documentary films that depicted ordinary life in Edwardian Britain.  They feature mill workers, Easter Fairs, Temperance marches, Wakes Week holidays in Blackpool and Morecambe and emigrants boarding ships in Liverpool bound for Boston.

News also became a big part of the company’s business.  The film troops leaving and returning from the Boer War, shot war re-enactments in the surrounding countryside of Blackburn using smoke bombs and guns for special effects; they were responsible for the first crime reconstruction film, The Arrest of Goudie in 1901 which was made and show just three days after the arrest of Thomas Goudie.  Sports news also became a regular feature of their work with local football teams often being the subjects.

They also shot some slapstick comedy films that no doubt influenced the Keystone Cops and Charlie Chaplin (Chaplin performed at the Theatre Royal, Ainsworth Street, Blackburn in 1903 and 1905).  Their most famous comedy film was called Diving Lucy of 1903 and was filmed in Corporation Park.

In 1907 Mitchell resumed possession of his original business in Northgate and from here on the volume of film production began to decline.  By 1909 films were only being made in the local area with the last surviving film being made in 1913.  In 1922 the partnership was dissolved with Kenyon dying in 1925 aged 75.  Mitchell continued to runs his photography business with his son until his death in 1952 aged 85.

Many of their films were stored in the basement of the Northgate business and were uncovered by workmen.  The films have been restored and are now in the possession of British Film Institue.

New director of Super Slow Way appointed

Super Slow Way, a major arts commissioning programme established to create a lasting legacy of arts and culture in Pennine Lancashire, has appointed Laurie Peake as its director.

Laurie will lead the commissioning of artists for the three-year project, running until 2017, which has received a £2million grant from Arts Council England’s Creative People & Places programme.  Super Slow Way will be developed by leading arts producers, working with local communities along the Leeds & Liverpool Canal from Blackburn to Pendle.

Inspired by the canal and taking its cue from the Slow Movement, Super Slow Way asks how can we use our time more creatively; bringing art and artists to this space where time slows down, to look afresh at how people live their fast-paced lives and how they relate to their environment, neighbourhoods and to each other.

Laurie Peake, Director for Super Slow Way, said: “I’m very proud to be from Pennine Lancashire and thrilled to be given the opportunity to get involved in the already vibrant cultural life of the region. I’m excited by the potential of Super Slow Way and looking forward to working with artists from near and far as well as residents across the area, using its great industrial heritage, dramatic landscapes and cultural diversity as inspiration and material. I hope Super Slow Way can spark a creative revolution on the banks of the Leeds & Liverpool Canal; one that inspires new types of productivity and offers opportunities to spend our time more imaginatively, supporting existing cultural activity and encouraging new forms. My aim is to harness the arts to look back at what shaped this area, to ask new questions about where we are now and imagine and propose new directions for where we are heading.”

Tony Hales, chair of the Super Slow Way project board, added: “Super Slow Way is a hugely ambitious project that aims to celebrate, unite and excite the communities along the Leeds & Liverpool Canal. Laurie has a superb track record of running major cultural programmes, so we are delighted to have her on board.  We’re now looking forward to turning our ambitions into reality, and create a truly unique cultural project together with the local people over the coming years.” 

Influence & Inspiration - Camilo José Vergara

Camilo Jose Vergara.  Photo by John D.
and Catherine T. - MacArthur Foundation.
CC Licence.

Any readers of The Guardians culture section may have come across a series of photo galleries depicting the work of Camilo José Vergara.

Chilean Vergara was born in 1944 studied for a BA in Sociology from the University of Notre Dame and MA is Sociology from Columbia University where he also completed the course work for a PH.D.

Vergara moved to new where he began working as a humanist street photographer in the early 1970’s.  His work was greatly influenced by his graduate work which highlighted an interest in the complexities of environmental influences on social behaviours.

The development of Kodachrome 64 film would also have a profound effect on his body of work and although he still recorded humanist behaviours he made a switch to documenting changes in urban landscapes.  Vergara would return to the same locations over and over again to depict the de-urbanization and reclamation by nature.  Over a decade’s worth of his photographs led to the publication of his first book The New American Ghetto in 1995 for which he won the Robert E. Park Award of the American Sociological Association in 1997.

Vergara’s photographs often depict a social decline and a return to nature that is fascinating, sad and sometimes uplifting but they also show a way of life on the margins of society.

His street photography has an almost cinematic quality to it that is reminiscent of scenes from 1970’s or 80’s movies such as Alan Parker’s Fame, Taxi Driver or Saturday Night Fever.  It’s certainly work looking at.

More about Vergara can be found on Wikipedia.

Vergara's website is here

The Guardian gallery is here

Starting Tomorrow - Nelson Camera Club Annual Exhibition

Nelson Camera Club open their doors tomorrow to their Annual Exhibition.  The event this year is held in the upstairs gallery space of the ACE Centre, Cross Street, Nelson.  The exhibition runs until February 28th.  A review of the show will be posted next week.

News from Blackburn is Open

There are several events up and coming in the Blackburn is Open calendar that we thought you might be interested in;

Beatles Drink & Draw

Drink & Draw are a cabaret style event with a difference.  Bringing together both professional and amateur artists alike to enjoy a drink and drawing while being entertained.  This month it is the turn of The Walrus, a Beatles/John Lennon inspired tribute act to entertain the artistic crowd.

The Drink and Draw event takes place on Thursday 12th February, 6:30pm at St. Johns Church, Victoria Street, Blackburn.  Admission is £5.

Open Day @ The Bureau

The Bureau is Blackburn's newest art venue and will be opening its doors for a day of artistic intent.

The event taking place on February 19 will feature live entertainment, demonstrations and workshops in everything from printmaking to lampshade making.

Take part in a singing workshop or even try your hand at circus skills such as juggling or unicycling.
There’ll also be live entertainment from a variety of performers including Blackburn People’s Choir, singer songwriter Ian Hodgson whose band Bradford have shared stages with the likes of Bjork and Primal Scream, and folk band The Driver Brothers.

SLYNCS, a Blackburn based youth organisation, will be delivering a one hour workshop aimed at finding out what people want from an arts centre in Blackburn and Somewhere-to who support young people in the arts will also be on hand to talk about the work that they do.

There’ll also be an art auction to help raise money for The Bureau. Work will be contributed by the many artists involved in setting up The Bureau and bidding begins at 7.30pm.

The Bureau is based at the former church St Johns which until recently was the venue for the Citizens Advice Bureau.

It has now been relaunched as an arts centre and is being run by local artists, performers and event promoters to host events, exhibitions, workshops and other creative endeavours.

The event will run from 10.30am until 5pm followed by ArtSpace creative meet-up from 5-10pm.

A Light Shines in the Darkness

‘A Light Shines in Darkness’ aims to bring new audiences into churches, some of whom may have never set foot in one, and challenge them to look at the building in a new way.

It seeks to provoke discussion around buildings now often overlooked and undervalued that nevertheless have a powerful architectural presence.

“Whether you’re religious or not you can’t help but be affected when you go into a place like this and the atmosphere the architecture creates. They deserve to have life in them and for people to have access to such special places,” Mike Jones FVU, curator.

Three films from the collection will be shown at the Grade I listed Gothic church Holy Trinity, built at the height of Blackburn’s industrial might.

They include LEAP after The Great Ecstacy an examination of worship of a different nature that of a major sporting event and Stable a film exploring what happens when you release a group of horses into a religious space.

A Light Shines in the Darkness is commissioned by the Film and Video Umbrella (FVU) and the Church’s Conservation Trust

A Light Shines in the Darkness runs from 5th March until 28th March, 4:30pm - 8:30pm, Holy Trinity Church, Mount Pleasant, BB1 5DQ.

One for the Gamers

Pixel Lust, the retro gaming interactive exhibitions returns but this time with more levels and extra bonus points!

Back by popular demand Pixel Lust the exhibition dedicated to the art of gaming returns for a two week bonanza of exhibitions, workshops and of course gaming.

In a nod to the hacker movement and also a time when computing seemed more accessible for would be coders Pixel Lust II will include a whole of host of computing workshops.

Events will include Tech Jam, an opensource electronics event for people wanting to start Raspberry pi and Arduino projects and coding for youngsters with Scratch software.

“We’re getting practical with art, programming and electronics workshops and celebrating technologies such as Minecraft, Arduino and Raspberry Pi, that encourage adults and young people alike to get their hands dirty but only digitally, of course,” says organiser Alex Martindale.

And other events include a jewellery making session, a stitch a sprite workshop, a retro gaming party and a craft jam where anything goes.

To volunteer or to get more information Facebook visit the website Pixel Lust

Pixel Lust runs from the 16th March until 29th March, Blackburn is Open Art's Centre (Next to the old cinema).

Artist in Residence Opportunity

An opportunity for an artist in residence has been announced.

The SHOP is a project run by Pendle Leisure Trust and funded by Arts Council England and the Portas Pilot scheme, supporting the development of Nelson Town Centre.  The project has taken over the old post office space and created a new creative and selling space for the town centre.

The residence is a partnership between Pendle Leisure Trust and In-Situ arts organisation.

They are particularly interested in process led artwork that explores Nelson Town Centre community in a sensitive manner: responding to people, place, and culture. 

The aim of the Shop residence is to develop a vibrant, creative presence within the shop and town centre community; as such, it is expected that the resident artist will show a presence in the locale: working in The Shop and the town centre.

There is a recognised lack of opportunities for the general public of Pendle to engage directly with artists and contemporary art in their locale. Feedback from local residents indicates that people are interested in contemporary art that responds to, and integrates with, the fabric of Pendle: the environment, local cultures, and social issues. In-residence creates a platform to respond to this feedback and produce engaging work in unexpected ways in unexpected spaces.

For more information contact Paul Hartley at In-Situ arts.

Is it really a stupid question?

Breakwater and Ball - Digital Monochrome, Lee Johnson

On the Amateur Photographer website they have posted a new poll.  This week it is about monochrome photography and asks 'Would you be prepared to convert one of your cameras to black & white?'  Is this a silly question?

After doing my research I still believe that it could well be.  I've read several articles about how much better the monochrome image from a converted digital camera is from a colour image that has been converted.

First, I have to admit that I do love monochrome photography.  There is just something about it and in my head I know it doesn't make sense, after all I do not see objects, people or landscapes in black and white.  I see them in colour.  I am of an age that I remember watching TV in black and white.  Would I go back to those days?  Nope, not really.  I seriously think it's more of a nostalgia thing.

The Leica M Monochrom

Of course there is an exception to this.  That is when I shoot film.  I love processing my own film and although I'm told that C-41 is as easy as black and white, I'm still a bit reluctant to try it and of course I shoot colour film nearly as much as I shoot black and white film.

One of the options in the poll is 'No, I'm saving up for a Leica M Monochrom instead'.  This option does sort of make sense to me.  Why not have a camera that is dedicated to shoot just monochrome images?  Ok, if I were going to spend that much money on a camera and lenses I would probably be looking to invest in a Pentax 645z or a quality large format film camera and not a Leica but at first the sentiment was there.

Heptonstall - Shot on Ilford FP4+ and scanned, Lee Johnson

However, as I began thinking more and more about it I came to the conclusion that it is a bit of a silly question.  My DSLR, compacts and even my mobile phone cameras all have the option to shoot in black and white.  I also have the option to convert an image from colour to monochrome in Lightroom or Photoshop.  Same with film.  I could shoot a colour neg and either process in black and white chemistry or scan it and convert in Photoshop.

Perhaps a converted digital camera may shoot a monochrome image better than some of these options (I still think a negative and a nicely made print is more beautiful than any digital image) but for me, the quality I get using the techniques and equipment I have at my disposal are more than adequate for my needs.

If you are feeling brave you can convert a digital camera to a monochrome digital yourself.  Petapixel have an article here.

Thoughts from across the pond

One of the great joys of the internet is the way it breaks international boundaries, even Pixel has an international audience.

Pre-Internet a few of us may have heard of great American magazines but few of us ever got the chance to read them but now....

There is an interesting essay in the online edition  of The Atlantic discussing, not for once on whether photography is dead or if its an art but looking at the more fundamental question of whether the nature of art and artists is changing and our current view of art as "That which you see in a gallery" is becoming out dated.

When works of art become commodities and nothing else, when every endeavor becomes “creative” and everybody “a creative,” then art sinks back to craft and artists back to artisans—a word that, in its adjectival form, at least, is newly popular again. Artisanal pickles, artisanal poems: what’s the difference, after all? So “art” itself may disappear: art as Art, that old high thing. Which—unless, like me, you think we need a vessel for our inner life—is nothing much to mourn.

Link to the complete Article

Landscape Photography

Over on Petapixel, Ugo Cei has posted an article called 'Will the real landscape photography please stand up'.  In the article Cei discusses getting away from what a lot of photographers perceive to be the standard for landscape photography.

While I do believe that a hobbyist photographer should be happy doing what they want to do, I couldn't help feeling that what Cei is saying resonates with how I feel and approach my own landscape photography for some time.

Have a look and see what you think.

Same thing but different

Grouse Butt - Bob Singleton

A couple of weeks ago Bob and I went out taking photographs at the same time.  We were not out together but we were in the same geographical area with a similar sort of subject in mind, snow.

Bob chose to go to the summit of Pendle and take some shots there.  I was at Newchurch which is not more than a couple of miles away from Bob.  Bear in mind that we did not know both of us were out an in the same area.

I don’t think we actually class ourselves as any particular type of photographer, we just enjoy photography but that being said we both favour a documentary approach.

It is interesting to look at both our photographs from that session.  They are both documentary photographs.  There has not been any Photoshopping.  Mine had its final levels and sharpening done in Photoshop but that’s it.  I suspect that Bob’s is straight out of Lightroom.

Winter Whites - Lee Johnson

The interesting point is our approaches to a similar subject at the same time.  Bob has exposed his photograph to show the conditions as they were.  It was a bit grey, flat and not particularly nice.

I was looking for something that would make a nice monochrome image.  I wanted some strong blacks, shades of grey and then some almost paper white.  I knew that my cameras meter would underexpose the image so I dialled in about 2 stops of exposure compensation.  The result is what I wanted to achieve.

Both photographs have a lot in common.  They are in the same geographical location; have a similar subject matter (stone, landscapes and weather conditions.  They both look very cold!); and are documentary in nature.  I like Bob’s image as much as I like mine but the interesting thing is that we have the same approach and still come out with something quite different.