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Masters of Vision

Review of Exhibition

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Tim Parkin

Tim Parkin

Amateur Photographer who plays with big cameras and film when in between digital photographs.

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Over the last month, the Master’s of Vision event has been displaying the work of some great landscape photographers and we had the pleasure of attending the launch. Pete Bridgwood in an earlier article wrote about the forthcoming exhibition.

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This year, Pete Bridgwood has invited some of his colleagues as well as some distinguished guests to feature in an updated exhibition. All of the exhibitors are no strangers to On Landscape - Valda Bailey, David Baker, Mark Littlejohn, Paul Kenny, David Anthony Hall and Julian Calverley have graced our pages in the past.



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  • Marc Elliott

    Mark is that larger, and then champagne your drinking? Where’s ya pint of real ale? :)

    • Marc Elliott

      Lager even – can’t even bring myself to spell it correctly :)

      • It was a glass of fizz I was holding for Rachel. She thought it would appear unseemly to be holding two glasses at the same time. There was a nice “proper” pint on sale which for the life of me I can’t recall the name…

  • Ed Hannam

    An excellent review of the exhibition (so good I visited it twice) Tim. i particularly agree with you about Valda`s work. “Valda Bailey’s work is transformed upon printing. The abstraction and texture play together to give a result that for me is far removed from many other practitioners of her technique”.
    I would add to that and say that I found her float-mounting technique an integral part of her presentation.

  • Paul Gotts

    I enjoyed the review Tim – as I could not get to the exhibition myself. You pull no punches

  • Paul Graber

    While many of the displayed images are terrific, the show for me was let down by the poor quality of the lighting used. This meant that the subtler, smaller images, particularly if on the lower part of the display boards, failed to make much impression. In fairness to Pete, I’ve had an exchange of emails on the subject, and he intends to improve lighting next time. But, in comparison, say with the recent Light and Land exhibition, a lot of these images were not shown to best advantage.

    • David Hawkes

      I’d like to comment in agreement. Overall, I loved the exhibition, which featured some of my favourite photographers, introduced me to others I now love and was in a stunning location. But the lighting did give great problems. I felt embarrassedly like a faux-expert peering close up with glasses off in order to see the tones and textures of some works.

      The dim, overly spotlighted lamps and reflective glass did not do justice to many pictures. This was made crystal clear – pardon the pun – by the images near a side door; open as a workman was tinkering and allowing daylight in which transformed the work.

      I’ll definitely go again next time round, but hope enough comment is noticed and the organisers do something about this…

  • milouvision

    Thanks for the review. And just to say a further thanks to all who attended and for the varied conversations including those at the subsequent Masters of Vision The Big Idea.

  • senezio

    Thank you for the write up Tim it’s much appreciated. It nice to see you in your capacity as editor of ON Landscape supporting us lowly practitioners and taking the time to get to know us on a personal level so that you can completely understand our intentions even if you feel our execution might sometimes miss the mark.

    I did the best I could to represent me and my work and my vision for MOVE, I saw the small stands as a challenge rather then a obstacle and having done a 10’ x 50’ curved wall at this year RHS Chelsea Flower Show I decided it was the way to go. Given that I had a very tight space to work with my only real disappointment was the lighting. I did have six other images that I simply shrunk to fit the outside walls. Personally I felt shrinking such big images caused an amount of shadows filling in or maybe it could have been the lighting who knows. All the work was printed on fine art paper which was specially selected and shipped from Germany because I really wanted to show the detail and hold on to the integrity of the Acrylic work I normally do.

    Overall my only real regret was that everything I produced for the show bar two pictures were custom made to fit and with regard to the four larger pieces they were one-use-only meaning I had to destroy them in order to get them off the wall. I agree with you that exhibiting is a marketing function (you are indeed very perceptive) and having been exhibiting my work albeit represented by some top Galleries I have indeed developed a very different way of doing things as you so cleverly noted.

    OK while I’m at it I’m not totally sure what relevance the reference to “when I started shooting woods I was the only one doing it” the only reference I can find to this in printed form is from a twitter interview with Genesis Imaging August 2014 it could possibly be that in the heat of live online typing I typed ‘shooting’ instead of: exhibiting very large format panoramic images of British & Irish woodlands in a way that has never been seen before. Indeed I believe it is one of the reasons I’m so well represented nowadays because what I was doing back then was seen as something new and refreshing. If you take a cursory glance at my CV you will see that quite a number of Galleries and dealers have worked with me in 15 plus countries worldwide over the years I must say never has anyone of them come back to me to report that ‘Jonny or Timmy down the road was complaining that they were producing work like mine before me and I somehow plagiarised them’ So where as the words may indeed misrepresent my intended message or were taken by you out of context or transcribed for the source I mention I believe them to be a true reflection of my appraisal of the situation.

    Finally I do have another point I’d like to disagree with you on, where you say I may be new to your readers! You very kindly covered the 2011 RHS Chelsea Flower Show long before any of the other aforementioned exhibitors I believe and if it is true? You did a very nice piece on the Artist Proof I sold for charity which raised £13,000 for the Children’s Acute Transport Service I believe this link will refresh your memory https://www.onlandscape.co.uk/2011/06/chelsea-flower-show-an-outdoor-gallery/ in this business of ours we need all the help and support and exposure we can get and if you take the RHS in the last five years my work has been exposed to a potential audience of 750,000 in the show ground alone when you start to add up all the press, TV and magazine coverage like your plus the countless exhibitions and Art fairs I think I could safely say a few people have been aware of my work and I would hope I have influenced them in a positive way. Indeed I’d be honoured to think I’ve inspired some to take up photography air to consider shooting Woodland scenes but sadly I don’t believe this to be the case because no one has ever given me credit for inspiring them in such a way.

    I really am concerned that some individuals in Landscape Photography are gripped by crab-in-the-bucket syndrome and there’s no cure in sight. It’s nice to see yo have such an objective and analytical mind and congratulations on your Art history degree which you mentioned in our previous twitter exchange.

    Best wishes to you and your loved ones,

    Keep up the good work,

    David Anthony Hall

    PS you might like tho see the talk I did at the MOVE Big Idea Day. Indeed you’ll probably want to share it with your readers so that they become as familiar with me as they are with all the other wonderful photographers you choose to rave about.

    • Sorry for forgetting the previous inclusion David – glad we weren’t remiss after all! I’ve removed the comment that you said was mistranscribed – I’ll take your word for that, I can only go on what I read. I agree – it’s a shame that the editioning and gallery system forces things like this. I was chatting with Jem Southam about it as he has had similar issues when he exhibited some work for us.

      I had a chat with Pete Bridgwood about the lighting and had a couple of suggestions. It’s so often disappointing as good lighting can be expensive.

      I also agree with what you say about shrinking images causing shadows to block up. The size of an image is will be printed at is definitely related to how it should be post processed. When darker areas are printed bigger it’s easier for us to make out detail in them and vice versa.

      Thanks for the feedback!

  • Catriona Thompson

    I managed to get up to Southwell last week, and I would have to say that it was a fantastically inspiring exhibition for a hobbyist photographer. Both on the level of a direction of travel (David Baker, Mark Littlejohn & Julian Calverley in simplicity showing how to do it) and then a desire to go further and express more (Valda Bailey). I was particularly interested in the David Anthony Hall as I spent a lot of last year concentrating on woodland shots to try and improve my photography. Thank you.

    There’s also a big thank you for holding the exhibition in the East Midlands, making it reachable for those of us in the less photogenic parts of the country.

    The only slight gripe was the reflection of some of the lights from the glass made a couple of the darker pictures hard to see in the gloom of the Minster.

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