Satellite Group Updates

Greenwich LIP Group March meeting

Four presentations as usual. – this time all very much about people.

Michael Mundy began with a portfolio of black and white prints. Most were portraits, those of sleeping people and those of Covent Garden street performers before or after their act standing out. We urged him to see them published. All this work was produced to self-set briefs, none by happenstan  ce; the Covent Garden material being gathered over a period of two years during which Michael developed a substantial rapport with the performers.

Michael Mundy

Meirion Harries followed with a second selection of his work, this time proposed for a forthcoming solo exhibition, and concentrating on faces both live and in representations, hoping to emphasise the constancy of faces across time and distinctions of ethnicity. Quite a lot of digital manipulation, Meirion quoting Ansel Adams’ musical analogy, distinguishing between the score (neg or file) and the performance (print).

Barry Cole did not show his own work but his thoughts on recent visits to the London Metropolitan Archives and the Foundling Museum. The Archives are an essential resource for research into aspects of London and include a great many historic photos. A current exhibition shows photos and prints of Londoners from several centuries.
The Foundling Museum currently houses ‘Child’s Play’, an exhibition of the work of Mark Neville following the title theme in UK, US and elsewhere including very young British soldiers in Afghanistan.

Barry Cole

Angelika Berndt ended the evening with a presentation of material from her visit last year to the area of Gidole in Ethiopia. Her intention had been to document the traditional culture of the Dereche people but she found it barely surviving in the context of a modernising national government and the availability of such things as western clothing despite that being less suitable to the climate than the traditional cotton wraps. Her photos were, as ever, beautifully clear evidence. Discussion centred on the methods of gaining the people’s trust, working with a local guide, and ensuring narrative clarity in the images.

Angelika Berndt

Report by Peter Luck

Crossing Lines March meeting

The March meeting was a strange affair in which more didn’t get done than did.

Rosanna Goodchild kicked off with a report on a recent exhibition event in Bristol. Rosanna has worked closely with street sleepers and work related to that had been submitted and exhibited. The discussion that followed was largely about the strutting curator of the exhibition and the flaffing about that came forth. There was a lot of sympathy on show from those who’ve had the experience of the Tsarist inclinations of the self-selected ones.

Anita Strasser gave us something different to what we might have expected. Researching the Stone Sea was the title and was inspired by Tim Ingold‘s ‘Being Alive‘.

Anita described (and illustrated) her experiences of mountain walking from hut to hut in the Bavarian Alps. The emphasis was upon the physical & also about stepping away from her trade-mark direct engagement with communities. This project was about looking inward & experiencing the physicality of the space that represented threat as well as engagement.

John Levett began to talk about sources of engagement for a fresh collaboration with Claire Reddleman & then became distracted. He concluded with a short ramble about the foothills of dementia & how it was beginning to affect his recall. His ramble got in the way of the last item on the programme which was to have been a discussion of the future trajectory of Crossing Lines. Another time.

John Levett

Central London Group February Meeting

In our last meeting we looked at photographs with the theme of Chiaroscuro. Chiaroscuro was traditionally an oil painting technique, developed during the Renaissance, that uses strong tonal contrasts between light and dark to model three-dimensional forms, often to dramatic effect. Some of our interpretations of the term were subject to a bit of ‘poetic licence’ but nevertheless there were many fine images featuring strong use of light and shade, high contrast and even evidence of psychological chiaroscuro! Special mention must go to Simon Butcher’s fine series of portraits of people seated in front of windows looking out on to bucolic views – taking the tropes of Renaissance portraiture and giving them a modern twist. These were a particularly good example of the use of chiaroscuro in photography. Ray Rapkerg’s psychologically charged portraits were also highly innovative and stimulated a lively debate. Here are some examples of what we saw on the night:

Ray Rapkerg

Simon Butcher

Anna Lerner

Steve Jones

Sue Czapska

Edith Templeton

Our next meeting will take place on Wednesday 22nd March at 18.45 at the usual venue – The Art Workers Guild, 6 Queens Square, Bloomsbury, London WC1N 3AT. The theme will be Stasis/Movement – either or both, compare and contrast if you like. Please bring along any work you wish to share on a memory stick or in print or book form.
Advance notice for April: Own Projects

Putney Group February 2017 Meeting Update

Good to see you all for our February meeting that by common consent turned out to be one of our best to date, largely down to Bill’s brilliant idea for a theme!

Our meeting started out with my customary run through of some recent award winning pictures: BuzzFeed’s 40 of the Most Powerful Photographs Ever Taken; 50 National Geographic Photos; and BBC’s Week in pictures: 11-17 February 2017. And a rather good video about how best to enter competitions – well worth a look.

We then struck gold with our monthly theme – everyone was asked to bring along a favourite picture from anyone, from any era and explain why they loved it so and how/why it might have inspired them. No one disappointed – please take a look at the selections – Henri Cartier-Bresson was the clear winner on the night, with several mentions.

Our next meeting is set for the evening of 20th March. Our theme will be ‘A Moment in Time’ in Black and White.

All the best – AW

André Kertész photo – selected by James Kirkland

Dorothy Lange photo – selected by Ann Ulrick

Edouard Baldus photo – selected by Peter Luck

Henri Cartier-Bresson photo – selected by Leonard Caudrey

Henri Cartier-Bresson photo – selected by Julian Newton

Joel Meyerowitz photo – selected by Carolyn Hytner

Michael Kenna photo – selected by Jenny Wright

Michael Sloyer photo – selected by Tim Poole

Omran Dashneeq photo – selected by Martin Conway

Saul Leiter photo – selected by Bill Christie

Steve Race photo – selected by Juliette Wiles

Trent Parke photo- selected by Stefan Lubo

Vivian Maier photo – selected by John Kelly

Photographer unknown- selected by Andrew Wilson

Photographer unknown- selected by Monireh Jassat

Photographer unknown- selected by Sarah Moore

Crossing Lines Group March meeting

For the March edition of The Crossing Lines Group there were two presentations and a ramble.

Rosanna Goodchild kicked off the proceedings with a report on her recent work & the display of it at a recent show in Bristol. I write ‘show’ but it was the ‘partial’ show that was at the centre of her presentation. The content of Rosanna’s work is that of vulnerable street-sleepers. Rosanna has always been sympathetic and discreet in her photographing and the ethical aspects of her work are up front.

The gallery to which she had contributed her work (alongside that of other Bristolians) were less than inclusive in their curatorial practice & decidedly sniffy in their treatment of Rosanna’s work. This led to a discussion of how we might take charge of the circumstances of exhibitions of our work.

We moved on to the possibility of having a Crossing Lines excursion to Bristol: not to sort out the Bristolian curators but to use it as a location & backdrop for a walking seminar.

Anita Strasser provided us with an update/refocus of her current project in the Bavarian alps. The initial focus was placed upon the rock strata but the key to our understanding of the photographic selection Anita had made lay in the physical aspect of traversing this landscape.

Anita has written: This is a different take on my Stone Sea project, inspired by Tim Ingold‘s book Being Alive. I am going to share my thoughts on ‘landing the sea and sea-ing the land’, on walking on and in the land; the landscape and the weathered world; and the body.

There are no plans (yet) to arrange a Bavarian walking seminar for The Crossing Lines Group but Tim Ingold’s book itself is worth a diversion.

John Levett was to have given an update on the continuation of last year’s collaboration (An Archive of the Yet to Become) with Claire Reddleman. However, given the time constraints, John abandoned this plan & substituted a brief report on the initial stage of his dementia.

By the time John had got to the end of that there was no time left for the planned discussion on the future of The Crossing Lines Group so … next month we’ll start with how we do our stuff at Crossing Lines meetings & on distant shores.

That’s it folks!

John Levett

Convenor of The Crossing Lines Group

Images to follow