explaining myself

60 Minutes at Speakers Corner

The main theme appears to be some kind of monotheist slap-down between the fundamental Christians and the fundamental Muslims.  Still, people listen, they join in.  I like it, though it reminds me that our society is increasingly polarised between the comfortable and those tolerating increasing discomfort.

Using instant film in the cold and the wind is problematic, but kind of worth it.

The speaker knows nothing
What about the mother’s right to life
Only Jesus knows the answers
This is an exercise in public speaking
Jesus is not the son of god
It’s worth a couple of minutes
To be honest, I don’t know what he wants
You know nothing about islam
Abortion is wrong, apparently
explaining myself

60 Minutes with Fotosynthesis

I met Ingrid Guyon when I helped out on a project for Fotosynthesis in early 2014.  they had this genius idea for teaching year 4 kids about measuring and maths that involved gettingthem to make pinhole cameras, to take photos and develop them.  Nothing beats seeing a kid watching a photograph coming up in the developer.  We stayed in touch and that summer I helped her out when she was taking portraits at the South Bank Centre.  I took polaroids of the process.

explaining myself

60 Minutes with my Mother

Ritual is important.  The breakfast ritual doubly so, another night survived, another morning washed and dressed, make up on and ready to eat, ready for the rest of the day.

explaining myself

60 Minutes with Tim Andrews

About a year ago, I had a fight with my husband and, I went off to the park with the polaroid back, my hasselblad and a pack of fuji instant film.  In the course of an hour I shot the pack, screwed up two in the process and felt pleased enough with the results do some more.  So, in the last 12 months i have done a little set in some properly unrelated places including my mother’s kitchen, speakers corner and a tiny town at the end of a small gage steam railway in Brazil.

If you asked me why I was doing it in the first place, I would have said something unuseful like because I want to. And it is true, that’s why I shoot all the stuff I shoot.  Is there a better reason?  However, with a little more thought, and being at Open School East is making me think a lot about the whys and wherefores of work, I realise that I am making decisions about the content.

Strewth Tina, you might say, after all these years I would have thought that you knew why you have been spending all this money on cameras and associated balix.  Well yes I would reply, I know why I do it, and it is the difference between liking cake and knowing how to bake the actual cake you personally like most of all that turns out the way you expect it to every time.

Is that vain?  I am not saying I make the best cake in the history of cakes, or even that this particualr cake is the photographic equalivant of a cronut.  It is just the cake I want to make.  The whole cake metaphor is apposite because I had every intention of using a wide angle pinhole and a couple of off camera flashes with Tim Andrews for a particular effet before I met him but when he walked into my studio I realised that he isn’t the sort of person who should be summed up in a single shot, he needed a few angles.  So out came the polaroid back 10 shots happened between chatting about stuff which informed the shots I took.

I do think about photographs a lot, I spend time thinking about the composition I want and the subject, Tim was the first person I had photographed in a proper formal (kinda) sitting.  I hadn’t met Tim so it was difficult to imagine taking a photograph of him, to work out a place that he belonged in the frame.  I had looked at the work of other photographers in his project and there was a wealth of different interpretations of him as a human and as a canvas.  They didn’t really help because they are all so different.  Just talking to him made me drop the one idea and persue the other.