Portfolio image review of the month by Stephen Snoddy: Peter Mearns "China CONTROL - Mao"

What struck me immediately about Peter Mearns' image was the structural similarity to Velazquez’s Las Meninas, painted more than 400 years ago. We have an image divided into three distinct ‘bands’ or ‘grounds’ - foreground, middleground and background.

Meet a Redeye Member - Jan Fyfe

For this month's Meet a Redeye Member we catch up with Jan Fyfe.

How did you get into photography?

I have been interested in photography since my teenage years and dabbled in a number of short photographic courses in my early 20s. Photography then took a back seat until 10 years ago when I went back to college to do a basic photo course and became hooked once more. I followed this with an A Level, a BA and then an MA in 2011. I am presently studying for a practice-led PhD at MMU.

Portfolio image review of the month by Stephen Clarke: Geoff Crossley ‘My Father's House Christmas Past’

The act of photographing the same place at different points in time is referred to as rephotography. It is particularly associated with the Rephotographic Survey project that was conceived by the American photographer Mark Klett. Klett’s project was ambitious as he and a team of photographers retraced the steps of the nineteenth century government survey team that had photographed the grand landscapes of the American West. Time was sandwiched between two images, one taken in the past and one in the present.

John Darwell: DDSBs (Discarded Dog Sh*t Bags): review by Stephen Clarke

The M6 motorway is a major artery of England running along the west of the country from the Midlands through to the Scottish border. At its northern tip it bypasses Carlisle, a small city in a rural county. Journeying up the motorway the passenger is surrounded by an impressive landscape: one that envelopes a photographer who chooses to live there and one that inevitably sets an agenda for discussion.

Excess Baggage

In her second personal reflection on this year's Arles Rencontres, Rebecca Dearden reflects on scale and size, focusing on the Manchester-based Roast Beef collective.

Arles in Black

Guest Opinion: In the first of a series of pieces from the 2013 Rencontres d’Arles, the annual photographic festival in the south of France, writer and photographer Rebecca Dearden gives a personal perspective on the theme, and her ambivalence to monochrome. It's summer in the south of France. The sunflowers are blazing yellow, the sky's blue, the sea's turquoise, but the town of Arles is all in black. In place of the bright aubergine, carrot and blue fox of previous years' international photo festivals, the 2013 mascot-logo is a black and white swan, albeit with a green beak and blue eye, and I realise I'm hoping there will be some similar touches of colour in what promises to be a worthy, nostalgic and dry festival. This is my sixth time in Arles and I'm lacking enthusiasm for monochrome.

Reflections on the Redeye Printing Bursary with Rob Sara

Emma Freeman won the 2012 Redeye Printing Bursary with Rob Sara, awarded to one Redeye member whose work would benefit from master printing. Here Rob and Emma reflect on what happened after the bursary was awarded, and the route the pair decided to take to print the project.

Preserving while exhibiting photographs - new challenges

Guest opinion:
Bertrand Lavédrine, Director of the Centre de Recherche sur la Conservation des Collections (CRCC), CNRS, MNHN, MCC, Paris, France, outlines the latest research on the effect of lighting while preserving photographs.

Case study: starting a photographic collective

Guest opinion:
Roxana and Pablo Allison outline how a respected new photographic collective emerged from Redeye workshops.

Prepare for the Future: Collecting Contemporary Art

Guest opinion:
Stephen Snoddy, director of New Art Gallery, Walsall, argues that regional museums and public galleries must put more resources into building their collections of contemporary art and photography.

Directors in regional museums in Britain need to place the buying of contemporary art at the top of their institutions' agenda. It is as simple and important as that.

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