Photography | alan frost photography

Posts from the ‘Photography’ category

Photographic projects – and how I have come to appreciate their importance

In recent weeks I have been considering how and why my photography has developed over the past couple of years. In doing so I have come to appreciate the importance of projects. In this post I will write about a few examples and illustrate how they have impacted on my photography and how they might help you in the future.

The age old expression that ‘every picture tells a story’ may still hold true, but with millions of photos being uploaded to the web on a daily basis, via Instagram, Flicker, Facebook, Twitter (I could go on) ….. the world is now saturated with images. Whilst I still enjoy making and sharing ‘single’ shots’, my own feeling is that there is much greater value in a body of work which includes some form of narrative; hopefully a story contained within a set of images which makes viewing the work more meaningful and dare I say it, more pleasurable for the viewer. A story behind the image is far more difficult to achieve from just a single back lit picture viewed on a screen in the space of a few milliseconds, whereas a printed body of work is likely to hold the attention of the viewer for a longer period of time. These bodies of work may take the form of a panel, a photographer’s portfolio, part of an exhibition or published in a book.

Yours truly at the recent ‘New Art of The South Downs’ Exhibition

Summer crops – fields of beauty

The countryside close to where I live is transformed at this time of year into what I can only describe as ‘fields of beauty’. A wonderful variety of crops which seem to be maturing earlier this year than I can ever remember. The beauty is visual, from both near and far as these photographs depict, but also beauty in the fact that in such a relatively short period of time a bare field can become a harvest full of goodness. Wheat, barley, oats and oil seed rape are all on show; the paths are overgrown and the pollen levels rise; it’s summer and who wouldn’t want to be outside to appreciate the crops on our farmland.

My first exhibition as part of The Festival of Chichester

I was invited a few weeks ago to be one of five artists to exhibit their work at the Courtyard Studios near Chilgrove, just to the north west of Chichester. The title of the exhibition is ‘New Art of the South Downs’ and has been curated by Terry and Nicola Hancock. I am delighted to have been asked and to have the opportunity to display some of my work. I will be showing several A2 signed and framed prints of my ecclesiastical images, all of which will be for sale.

Sanctuary by Alan Frost

The Exhibition runs from Saturday 1st July until Saturday 8th July; 11am – 5pm each day, but closed on Monday and Tuesday.

The South Downs has long inspired art and creativity and the exhibition is located in the heart of the National Park near Kingley Vale. Each of the five artists offer a fresh interpretation of what it is to live and create in this beautiful area. Original paintings, prints, sculptures and of course my photographs will be on show and available for sale.

Nicola Hancock

Shelagh Wilson

Alan Williams

Geraldine Barton

This opportunity came about as a result of a meeting with Terry Hancock who runs Reframe, a picture framing business, which all forms part of the gallery and studio space at Courtyard Studios. I had asked him to frame my work for what I had thought would be my first exhibition in The Oxmarket in November, which has now been overtaken by this event.

The exhibition is part of The Festival of Chichester which started on the 16th June and ends on the 17th July. During this period the City is staging over 200 varied events, including all forms of music, exhibitions, talks, theatre, book events, in fact anything connected to the arts is being celebrated.

If you plan to visit the exhibition, the address is Courtyard Studios, The Courtyard, Crows Hall Farm, Chilgrove, Chichester, West Sussex PO18 9HP.

Inspired by the Master photographer, John Blakemore – and my 300th post!

Woodland on Ulva

I am a keen collector of books about photography and naturally the vast majority are by authors whose work I greatly admire. I find both the written word and the images can be inspiring, often providing little pearls of wisdom which might just help my own photography. One such person is John Blakemore, a true master of the craft of black and white photography. Born in 1936 in Coventry, England he has been practicing his art since 1956, and in that time has built a portfolio of work which of its type is unlikely to be surpassed. Much of this work has now been archived at the Library of Birmingham.

He is probably best known for his landscapes and still life photographs. He is widely acknowledged as one of the finest monochrome printers, using the zone system to make some truly beautiful images – his use and control of tonality in a black and white photograph is quite superb.

I only have one of his books, titled – ‘John Blakemore’s Black and White Photography Workshop’. Whilst much of what he has to write relates directly to the traditional darkroom, his thoughts on tonality and printing can equally be applied to the digital darkroom as well. The book contains many of his best known photographs and if like me, you wish to improve your knowledge of black and white photography, this book is well worth adding to your collection.

So how did this book inspire me? How could his approach be applied to my own work?

One area where I have always struggled is trying to photograph woodland. From a composition point of view I find the subject matter very challenging. You could say I find it hard to see the ‘wood from the trees’, an old cliche perhaps but in my case a very true one. Even when the composition looks right I haven’t known how to process the image in a way which I find pleasing.

Recently I started reading through John Blakemore’s book and I came across a number of woodland landscapes which I very much liked. I enjoyed their treatment and this encouraged and inspired me. Having studied these images more closely I selected a few frames taken on my recent trip to Scotland to see whether or not I could emulate the ‘look’ of his work and process my pictures in a similar fashion.

Boulders of Moss, Ulva

The tone curve in these four photographs is very different to the outcome from my normal processing methods and as a consequence this set of images work for me. Whilst there is a full range of tones, the mid-tones dominate each picture. Strong darker tones are my usual style, resulting in an image which has far more contrast. The images in this post are much softer and more restful to the eye. As a result I believe the viewers attention is held for longer so that the composition, the texture and form is more readily appreciated. A high contrast image can be quite punchy and dramatic but the eye can quickly tire when looking at an image of this type. These are far more subtle images and an approach I can see myself using again in the future. I will also be interested to see how they print on various types of paper.

Eas Fors Waterfall, Isle of Mull

Tree by a stream, Wester Ross

Your feedback and comments are very welcome and as this is my 300th entry, it’s an opportune time for me to thank all my followers who read, like and comment on my work. It’s very much appreciated and it’s one of the reasons I will continue sharing my images and thoughts in the future.

Lastly my thanks to John Blakemore for his inspiring approach to this art form.

As always these images are best viewed large, so do click on any one of the photographs and it will open in a new window.

Llynnau Mymbyr, Snowdonia – another one from the archives

A few days ago I posted an image taken back in 2015 during a trip to Snowdonia in Wales, which I had not processed or shared before. Whilst searching the Snowdonia folder in Lightroom I also came across this picture. This shot of the Snowdon Horseshoe was taken looking down a lake called Llynnau Mymbyr. The obvious appeal to this image is the early morning mist hanging in wait for the sun to rise and its reflection in the calm waters of the lake. I clearly remember this scene and can recall that within a few minutes the mist had been burnt away and the very reason for taking the photograph in the first place had disappeared.