I did have a cannon AE-1 but sadly the shutter mechanism has since broken and it would cost more to repair it than it would to simply buy a new one. Since there are more pressing things that I need to pay for coming up, like rent and food, the camera will have to wait. At the same time, I am very keen to produce a series of photographs that reflect my time in London in the same way that these images partially reflect my time in Falmouth.
I had literally no idea what to write about in the magazine until today. Even now, I think this article is weak and boring. It has nothing interesting, it merely shows tiny snippets in a journey from Falmouth to flushing, then, once in Flushing and realising that there’s not much there, asking the girlfriend if she fancied going to Helford Passage instead. That is basically what I wrote the article about. I admit, it’s probably quite crap. And yet…
The article is not that dissimilar to a blog… I am not one to embrace blogging, however, the article is only slightly worded differently from a personal account of what I was thinking at the time. You can even tell what mood I was in. With this in mind, perhaps those personal voyeurs out there might enjoy it? If anything, I was pretty pleased with the photos, although I couldn’t quite get my head around the camera. I normally use my Cannon AE1, a delightful piece of a equipment that allows the photographer full control over everything… and it’s not digital. I used a Nikon D5000. This camera is far too automated for my liking. There’s no control since the lens, aperture, shutter speed, and pretty much all the settings are too deeply locked in fathoms of digital menus. At the same time, it’s a beauty, and I can see that, perhaps with more practice, I might be able to do things with that camera that I might never have imaged whilst using my good old Cannon.
I stumbled across Helford Passage last year. It really is beautiful. The pub serves fantastic food, slightly over priced, but to be honest, it’s just an amazing location. It is perhaps one of my favourite locations in all of Cornwall.
When we arrived at Helford Passage this year, the lighting could not have been more perfect. It literally turned the water golden. The tides lay the estuary to rest like a millpond, you could almost have skated across it.
I’m just going to use this blog entry to post some piccies that wouldn’t be noticed. The magazine is not a place for me to exhibit any sense of photographic talent. Besides, the photos have come out too blurry… it’s not too bad, but if I were a photography student, they would not pass.
I’d quite like to compile a collection of photographs of small boats one day. I took a load when I was on holiday in Portugal. I might make a collection on this blog actually… good idea. I wonder, is a blog a space of streams of consciousness? Probably not when your tutor is supposed to be reading them. I doubt that happens to be honest. I should probably stop.
I’ve just worked out how to insert a gallery. Lesson learned. Hopefully this might be a way to store images for future reference. Hmmm, anyway. That’s about it to be fair.
Back in the days of A2 art, I did a project on Barbara Hepworth that I feel was most effective. This post is simply an experiment to upload pictures to the blog along with a quick blurb of Barbara Hepworth. I was in St. Ives yesterday and took a few photos. I managed to get a few of the sculptures inside the museum but due to copyright, those photos are not allowed to be displayed.
Anyway, onto the artist…
Her sculptures defined a contemporary style of sculpture in a massive phase of art of the 20th century. The ‘Modernist Deco’ style is consistent in most of her pieces. Tell tale signs of her work include that of multi-textural surfaces, often smooth with modest colour pallets. They’re mostly very minimalist and organic, although at the same time, they have wire structures or very block-like geometric stances to them. Structurally, they often emphasise a strong sense of either negative space or positive form. She is not unique in exploring simple forms of positive and negative space. Another example would be Alexander Calder, who’s ‘Stabile’ sculptures use geometric and metallic shapes although in a fluid form.
Hepworth’s Sculpture Garden is full of her works in stone, wood and wire, although the museum also displays her preliminary sketches and her colour ideas in pastels and paints. The more interesting aspect to the museum displays a section of her workshop. Unfinished sculptures in marble are left with tools laying beside the pieces. It gives a sense of ethereal presence. It also gives insight as to the points of her inspiration. In the workshop is a row of catus plants in pots. The shapes and forms seem to mimic the concepts in her sculptures.
Hepworth’s sculptures, although minimalist and bold, carry intricate balances of organic and geometric forms including wires, spheres, basic blocks or even peels of metal. All in all, Hepworth has managed to create something more convoluted and interesting out of basic and fundamental shapes and forms.
I thought I’d just throw in some other photos too. I took loads, but I don’t want to drown my blog. I’ll check to see how long it takes to upload the page.
Linear forms break up the negative space. This juxtaposition in style and shape create something unique and quite literally ‘eye catching.’ The sculpture invites the viewer to inspect the detail that is teased by light and shadows.
Hepworth’s iconic manipulation of texture and tone is employed to enhance the abstract shape. The fluidity and movement of the sculpture is broken and jarred by the gnarled and wrinkled surface. Again, this sculpture plays with light and shadow to emphasise structure and shape with highlights and tonal disposition.
Hepworth uses literally hundreds of different medias and materials. Here she plays with the concept of reflective and metallic surfaces, continuing with her motif with use of light and shadow.
The locals of St. Ives kept bragging about ‘the light’ of the place. They say that it’s simply beautiful and that it inspired artists from all over to work and settle in the place. It’s true, St. Ives is a pretty place. I’m not convinced that the light is any different, but perhaps I’m wrong. Clearly, Hepworth took full advantage over the concept of lights and shadows…
Great, photo project, done!