The right kind of image for Fine Art papers

Having ventured back into the world of ‘Fine Art’ the burning question is exactly what kind of media is suitable to output my art pieces. The choices are staggering with a wealth of manufacturers in the market place. But I want to focus on my own experiences rather than engaging in a debate as to what may or may not be the best materials available.

For my last project entitled “Ars Longa Vita Brevis” (Art endures, life is brief) which was founded on my love of Renaissance art, the pieces were inspired by the second poetry collection of my partner, Katypoetess. From the outset I envisaged a series of canvases initially in the form of scrolls, bound and sealed and later as sizeable fine art canvases. I could have easily handed the initial print work to my lab, OneVison Imaging in Coventry but at this stage I was determined to understand the processes of calibration and custom profiles – next stop, Alex Cullen at Permajet and re-establishing a long term friendship with their CEO, Robin Whetton.

Having purchased a Canon Pro1 printer after having seen tremendous results, (on Fine Art Paper, I must add at this stage) I tasked Alex with using his immense expertise in writing some custom profiles for me and my new baby. No matter what we tried, output on Canvas, my chosen medium, just wasn’t happening to create  the reds I envisaged, and as the entire collection were in the warm end of the spectrum, this was a huge problem. Drastic measures were required, so I made a further investment in an Epson P800, et voila! Perfect prints on Permajet Mercury Canvas. Still needed custom profiles, but the reds were exquisite!

The Unrepentant Penitent - Shadows of Magdalene Collection ©2016

The Unrepentant Penitent – Shadows of Magdalene Collection ©2016

There is no easy route to selecting the right paper for the right image except lots of ‘professional’ qualified advice, a smattering of trial and error, and maybe a few trips to art galleries and museums for inspiration! So, where to get that expert help? The first ports of call should be your pro lab if they are printing your work. One Vision Imaging use an extensive range of Fine Art papers and not forgetting my principal supplier, Permajet. Having the right profile is critical to ensuring the best results and if you print your own, consider having custom profiles made.

Please visit: www.onevisionimaging.com and www.permajet.com for more information on services and products.

 

New Workshops for 2017

Throughout 2017 I am offering a number of workshops in the UK based at my Leamington Spa Studio. Easily accessible from the M40 and Train links. Plenty of reasonable accommodation and parking nearby. Each workshop is for a maximum of 8 delegates ensuring quality of delivery and enough time for everyone to absorb themselves into the content.
1. Posing Workshops – 8 places – £250 per place
2. Environmental Portraiture – 8 places – £295 per place
3. Studio Portraiture – 8 places – £295 per place
4. Fine Art & Photography – 6 places – £395 per place
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Each workshop will include refreshments, lunch, 2 models (1 model in costumes for the Fine Art Workshop), materials where appropriate (printed output on the Fine Art Workshop) and notes. I anticipate that the Fine Art Workshops will be very popular as they are very intensive so early registration of interest is essential. In the early Summer and Autumn the Fine Art Workshops will also be available in a slightly different format in Pembrokeshire.
For further information and to register your interest please contact me via direct message on Facebook through my various pages or by email at mgrahamedunn@me.com

“I lavish in desire” – Art by Martin Grahame-Dunn & Poetry by Katypoetess

Formally, a study based on the ballad "La Belle Dame sans Merci" now retailed - "I lavish in desire"

Formally, a study based on the ballad “La Belle Dame sans Merci” now retailed – “I lavish in desire”

Recently, I have began a journey of research to use the art and literature of the Pre-Raphaelite era as an inspiration to create pieces of fine art via the medium of photography, in that distinctive painters style. My first reference was to look at certain stanzas in the Keats ballad, written in 1819, “La Belle Dame sans Merci” that in itself is a reworking of the 15th century piece by that name by Alain Chartier. The stanza chosen was:

“I met a lady in the meads,

Full beautiful, a fairy’s child;

Her hair was long, her foot was light,

And her eyes were wild.”

John Keats 1819

So, my Lady and I revisited a location we love, fully laden with a costume (although not in the colours I would have chosen) and props including beautifully crafted armour, and a head garland of white roses, that I had sat and made up the previous evening. The day itself was the third anniversary of us being together and what better way to mark the occasion than by doing something together we both love. Art & Poetry. Waiting for the ’sweet light’ of the day I took sufficient images to create the first test piece for my new collection.

Later that evening having completed the art piece, my Lady, unbeknown to me wrote a beautiful piece of what she has dubbed, ‘Micropoetry’ and Tweeted it to the world. It’s actually a perfect fit for the image and together I believe we have achieved what every artist and his muse desires, a harmony of vision and execution….

“I lavish in desire

for decay around me

in face or flower

cliff rock or body

or the sun setting on

another dying day”

© Katypoetess 2016

With great thanks to the lady and poetess in my life – Katypoetess. Please follow her on Twitter to enjoy more of her ‘Micropoetry’ @Katypoetess. Her first published poetry collection, “Of Lilith and Anthony” is available on Amazon.

© Martin Grahame-Dunn 2016

Why I love printed images!

Its really not that long ago that it was the norm to have professionally printed, just about every image we took. Indeed since the advent of the photographic process, a print of some kind has always been made. Prints were valued as art, as memories, as legacy and as records. Without prints we would not be able to enjoy the earliest portraiture of Julia Margaret Cameron, a pioneer who loved to ‘hang out’ with the artists of the Pre-Raphaelite movements and who was equally revered as an artist in a new and exciting medium. Books and publications abound illustrating the lives of people, their clothing choices, hairstyles and fashions, some of which are valuable historical documents and others provide sources of amusement and nostalgia. The importance of the printed image has affected every facet of our lives in living memory.

Then came the advent of universally accessible digital imaging and our world has changed, virtually overnight. So, are the warnings of the ‘father of the internet’, Vint Cerf being heeded? He warned of a “digital Dark Age” — a future in which there will be little record of the 21st century. “Old formats of documents that we’ve created or presentations may not be readable by the latest version of the software because backwards compatibility is not always guaranteed”

To me the message is clear as day. If I can’t hold it, stand back from it and admire it on a wall or in a book, I have nothing of any particular value. A ‘real’ artist of any kind, whatever they may say, wishes to leave a legacy. Legacies that are universally accessible and not confined to a PC, Mac, iPad, phone or other digital device. Don’t get me wrong, online services that aid sales in a universal market are an essential component of a modern photographic business but even their aim is to make a print!

"Under the Cross" an artwork illustrating a poem from 'Shadows of Magdalene' © Katypoetess 2016. Printed on Permajet's Mercury Canvas

“Under the Cross” an artwork illustrating a poem from ‘Shadows of Magdalene’ © Katypoetess 2016. Printed on Permajet’s Mercury Canvas

Call me old fashioned, out of date or an industry dinosaur. I don’t care! Having just achieved a pivotal Historical Research Fellowship with the BIPP I had to make my own prints. Not just prints but canvases. I could have gone to my favourite lab, One Vision Imaging (they did print my ‘evidence’ books!) but this control freak sourced superb inkjet products from Permajet (huge thanks to Robin Whetton, Alex Cullen and the team at the Imaging Warehouse) and output everything myself on a pair of printers. Finally, the shop window on the world. My all new Zenfolio website (Adam Edwards, thanks for making this happen) where I gave the design team the task of creating an art gallery site to actually sell prints! Vanity? Legacy? Practicality? Whatever your motive, it’s what we should all be doing – Make a Print!

© Martin Grahame-Dunn 2016

When is an image truly Fine Art?

It’s still alarming that the term ‘Fine Art photography’ continues to be a repository of anything not understood or perceived to be outside the comfort zone of existing, established genres or categories in the photography world. I beg the question “When is an image truly Fine Art?” Surely it cannot simply be a consumable studio portrait with the application of texture on a bland background where we are asked to accept it as ‘art’ solely based on its technique in image manipulation software? When does a landscape cease to be a landscape and become a Constable or a Turner but captured with a camera? It truly has become a minefield often of misinformation.

Quo Vadis Domini - Wither goest thou Lord?

Quo Vadis Domini – Whither goest thou Lord?

Is it not a simple truth that the Renaissance artists only used natural light in the most exquisitely controlled ways. Doesn’t it make you wonder just how much knowledge has been lost in our modern day lives and perhaps why photographers have struggled to be accepted and acknowledged as artists? Have you ever wondered where the mystical and mythical forty five degree lighting angle theory and practice took its rise? Certainly not YouTube and the Internet!

I relish discussions of this nature with family, friends and fellow artists. In one such recent discussion with my partner and co-creative poetess, she put forward the proposition that from her perceptions and experiences a piece of art should contain ‘pharmaceutical elements’ that constitute a perfect combination, resulting in a definitive outcome whose effects are clearly understood. Perhaps in essence, it could be explained as the complexity of the union of elements that are brought together in a work of art. For surely the most powerful art forms illicit emotional and intellectual responses. Food for thought don’t you think?

Martin Grahame-Dunn FBIPP ©2016

To qualify or not to qualify? That is the question!

This is a question I have had to answer on numerous occasions over my many years in the photographic industry and my answer has more or less been the same. Do it for you. Do it for your own professional development. Do it to make yourself a better photographer. I know I cannot put my hand on my heart and say it will make a blind bit of difference to one’s clients as its a hard fact that there is simply not the advertising budget in any single organisations or even collectively to penetrate the market in significant and traditional ways.

Recently, many of my friends and colleagues found out that I was intending to apply for yet another Fellowship. But this one was to be significantly different. The jewel in my crown of personal achievement by being true to myself as an artist. Achieving the first Fellowship of the BIPP in Historical Research for over 20 years has been a true ‘labour of love’ as the single subject has been my partner who is an extremely talented poetess. Before I even considered it as a Fellowship submission, its main aim was to illustrate her second poetry collection entitled “Shadows of Magdalene”.

The Heptagrammaton of Illumination - Inspired by the set of seven paintings by 17th Century Renaissance painter, Jean Nicot

The Heptagrammaton of Illumination – Inspired by the set of seven paintings by 17th Century Renaissance painter, Jean Nicot

Did I need to do this? Yes, absolutely. Because for an image maker who travels the world lecturing, teaching other professional photographers how to create better images I could hardly ethically sit back on my past achievements. I’ve done it for me! No regrets. Where it goes from here is part of my own personal development plan. So, in conclusion, set yourselves personal projects to develop your skills and have them measured by qualification. But, do understand that nothing comes cheap. The training and mentoring you may receive along the way has a cost. As does the production of your submission. It is an investment in ‘YOU’. In future posts I will discuss some of the images and poetry behind my Fine Art collection.

For information on qualifications visit The BIPP and The MPA

Painting with Light at The Tate Britain – Art and Photography from the Pre-Raphaelites to the modern age

This exhibition that goes back to the dawn of Photography and its relationship with artists, most particularly those of the Pre-Raphaelite Brotherhood, is well worth a visit. What struck me most was the inception of the age-old debate, “Is photography art?” that still rages today. Certainly in the professional world, the category of Fine Art Photography has often found itself to be a dumping ground for all those images produced that simply do not seem to fit in the other more traditional categories.

Curator Hope Kingsley, makes a most pertinent statement that I wholly concur with. “Photographs share a simple consonance with other works of visual art in the formal components of a picture – composition and framing, attention to areas of light and shadow, and image resolution in distinctness or diffusion.”

In my own work I have striven to produce images that to me are more art with a camera, where it is just another choice between a brush and a palette knife where my pigments, tones and textures are moved around my canvasses with the same dexterity had I chosen more traditional or accepted means of producing fine art. My gallery of finished pieces and studies to accompany my partner Kate’s second poetry collection and constitute a submission to the BIPP is all but complete. I have had a working title for some time but driven by a hunger for more research and thought into the justification of photography as just another manifestation of art has led me to finding another in a volume portraying “The tragedy of a Pre-Raphaelite Supermodel – Lizzie Siddall”*…

Ars Longa Vita Brevis – art endures, life is brief

*Lucinda Hawkesley – André Deutsch, Carlton Publishing Group 2004

10 things a Photographer should know – Part 10 – Real artists create!

Do you just sit around and think of stuff you could create, photograph, build, ship, or design, but never output anything? Then you’re a poser. Take a new approach and make stuff. Maybe what comes out of your studio isn’t perfect, but there should always stuff leaving the door and hitting the web, the page, the billboard, the gallery, or the street. If you are for real, you’ll be pumping out work on the regular.

Chase Jarvis

This is a subject to which I have given a great deal of thought. Indeed it is shaping my future not only as a trainer and educator but also as a serious creator of Art. I have long wished to return to my roots and now believe I know the journey I must take. I realise that for me, the creation of Art simply utilises the tool that is the camera as no more than a sketching device. Indeed it creates the ‘underpainting’ or skeleton of my finished canvasses. As a Trainer I am making the conscious decision to develop workshop to bring out that creativity in every photographer who truly wishes to use Photography as an art form. To give them room to express and the tools to create. To encourage pre-conceptualisation of their Art. To learn to see, master and control directional light used by our forefathers. In short to be artists of a new Renaissance that this time, uses the camera as no more than a brush dipping into the colours of the palette of life to create the extraordinary.

I do hope that many of you can join me on this ‘journey’ and on my “Workshops for Creatives” that will be taking place this year and for many years to come. Let me help you open up a new world of imaging and expand your creativity. There are still places available on my Pride & Prejudice meets Wuthering Heights two day workshop in the Derbyshire Peaks on 24th and 25th July 2016 but contact me soon.

Martin Grahame-Dunn

Beyond ‘Mentoring’ – engaging a Business Consultant

Very recently, I have given a great deal of thought about my previous provisions of a ‘Mentoring Programme’ that simply by the term ‘Programme’, intimated a structure almost equivalent to a curriculum. I also realise that due to the individual needs of every photographer, that such a structure is far from ‘one size fits all’. I have to acknowledge that recipe cannot be the most effective route to meeting the needs of today’s photographers. Some ‘mentees’ or  clients have greater needs than others and require more time and engagement.
Outside of the UK I fully embrace my role as a photographic business consultant which I operate on a fee driven basis commensurate with specifically delivered and measured activities. The closest analogy is engaging the services of a ‘professional’ who charges on a time basis for services rendered. This will be my future business plan governing my engagement with those who I have formally termed as ‘mentees’. The role of a consultant in this industry is in my qualified opinion, to be reactive and responsive as a kind of ‘knowledge bank’ from which a client may choose to access certain information or skills.
In the past there has been a case for working with a select few on an engagement basis where a reduced monthly fee has taken into account a reasonable level of access to my services and advice. Such time being advantageous to those few where a normal consultancy rate per interaction would far exceed the monthly remuneration paid. As an example, any interaction, no matter how brief would be charged at a ‘minimum rate’. From now on I shall offer my services on ‘professional’ rate that is realistic and appropriate.
I shall of course continue to organise a limited number of workshops in a year, for only 8 delegates on each, where the engagement between trainer and attendee will be advantageous and productive. One such intensive two day workshop for those who wish to expand and explore their creativity will be held in the Peak District of Derbyshire on the 24th and 25th of July 2016. At this point there are still a few places available, but I do not anticipate this being the case in the near future. Occasionally there will be other workshops in cooperation with colleagues or organisations.
So, if you need a one off consultation, a ‘how to’ in a specific genre of photography or process, or you’re trying to push your boundaries then contact me, and I will help you.
2016 Rates:
Day – £750.00
Half Day – £350.00
Session of up to One Hour – £75.00
2016 Preferential rates for past Mentees:-
Day – £475.00
Half Day – £250.00
Session of up to One Hour – £50.00

10 things a Photographer should know – Part 9

9. A-Gamers work with A-Gamers.
If you are good at what you do, then you work–or seek to work–with other people who kick ass too. If you suck, then you put yourself around sucky people to feel better about yourself. If you want to be the best, seek to be around awesome people–be it other artists, assistants, producers, clients, partners, whatever. Shoot high. Shoot for better than yourself.
Chase Jarvis
This is all about not setting your sights too low or underpricing, indeed undervaluing your work because you are more concerned about what your low price competitors are up to. People who know me well understand I value the quest of  attaining a ‘Professional’ qualification by a recognised Institute or Association. Why? Because its a personal benchmark. A form of self motivated quality control that drives us to excel in every walk of our photographic lives. Without a doubt in the UK, the BIPP and MPA lead the way with processes that examine our businesses in more depth than ever before. In conclusion, do aim as high as you can. Think of yourself as a purveyor of the finest quality as if you had received an enviable ‘Royal Warrant’. Don’t settle for less!
Martin Grahame-Dunn