Posted on December 9, 2016
I am selling my original ltd edition signed 1 of 1 hahnemuhle A3 prints for a short time only, trying to raise £1000 and donate it to cancer research uk.
These are professional A3 gicle prints on hahnemule photorag which increases their desireablity. Each print has distinctive toothed surface textures making them one of one original and authentic ltd editions. They are double sided with mechanical and natural textures giving the image superior quality and depth.
Each work of art comes with a signed certificate of true authenticity and an authentic traditional haiku poem by the author Stephen Shaw. These professional prints should only be handled with gloves and kept in a storage container or hung and mounted in a high quality wall frame mount. This prevents deterioration from oils, dirt and atmosphere which will maximise on their life, which is currently 100 years plus with correct care and attention. Each print is hand prepared by myself on authentic hahnemuhle Photorag paper with decalled edges, and signed with an authentic, antique Japanese needle pen.
Unknown person. Preston Subway.
You can also pick any image from one of my more recent projects as a signed 1 of 1 or an unsigned 1 of 10 limited editon print.
Just go to my website steshaw.co.uk choose an image then mention the ” image title and 1 of 1 or 1 of 10 ” on checking out with ebay or etsy in the special notes/message to seller, section. Or you can pick one of four I have displayed here.
“Shaw’s work is raw and real. He’s a brave one, attracted to what many would run from”. PP Hartnett.
Photographer/Artist Stephen shaw
The Diddies due 01 july 2017, print
Ltd Edition digital hahnemuhle prints : available upon request
Silver gelatin photographs : available upon request
Posted on June 19, 2016
Two weeks ago I invested in a new film camera which I am Planning to use on my new documentary/street project . I have also decided I am going to use film alongside my digital at all times . Film for me at this moment in time is definitely more exciting .
It is currently having a major resurgence in popularity and rightly so as it definitely contains an attraction that I associate with artistic desire . Don’t get me wrong digital is good , but for myself , lately it seems to have an air of false plasticity about itself . The solitary and exclusive act of light on film creates a visual event like nothing else can replicate . The way a film represents reality with its unique aura of originality and historic validation , makes me salivate with trepidation at the though of not using it . A good shot on film makes an effect and fulfils you like nothing else and you cannot quite achieve the same with digital . The Yes you have excellent filters that replicate it , but they don’t quite hit the spot . Film correlates on a personal level with a more realistic and genuine work of art , as you produce a tangible artefact that can struggle against the ravages of time more efficiently . I believe in our current times a good silver gelatine print is also more satisfying and sought after photographically than a digital .
As well as outlasting a digital file on an SD card by 4 to 1 , thus being more valuable as an archival source , it has numerous other benefits which appeal to me . I love the way each frame you compose seems more precious and you hold back for the perfect moment instead of just snapping because you can as is sometimes the case in digital . You can hold your finger on the shutter longer and stem your addiction like a coiled spring waiting to release its energy and gratify you more thoroughly . Your 35 mm film roll is limited to 36 exp so you tend to make them count more . You can’t chimp with a film camera either which helps you too concentrate more on the job at hand , absorbing your surroundings and becoming more focused and zen like in your search for that shot , instead of just being preoccupied by checking your lcd screen to see if you have got the said great shot , which ironically decreases your chances of getting it .
So at the moment I am experimenting with different film to find one I prefer to work with the most , Kodak Portra 400 and Fuji Reala are currently topping the list but Ive just bought 5 rolls of Kodak Tri X 400 which I plan to use this next two weeks . Shooting film makes you more fluent in your basic knowledge of exposure and this is again a good thing for increasing your time for concentrating on the shot .
I have shot film for a long time and always tend to leave the undeveloped film in a bag for 6 to 12 months before I get round to developing and archiving them . You have to be very patient for this and if i wasn’t preoccupied and satisfied with my digital I would of found it a lot harder to do . But now the time has come and I think doing this has also unexpectedly had a positive effect on the way I look at my negs and prints . Because I have forgot a lot of these experiences and singular moments from last year , I can now look upon them with fresh eyes . The rush I get from recollecting these moments after this interlude is fantastic and greatly exagerrated because of this . At the same time it all comes flooding back and corresponding alongside a new fresh perspective from which to look at them and a chance to foster greater ideas from this very notion . This , for me , is one of photographys strong points and always quenches my thirst photographically for a short time .
I am currently in the process of creating my own darkroom . I am drawn to the theory and thrill of developing my own negs and to create my own prints in my own space . To learn and experience more methods of chemical development and self printing , instead of the post process that so many digital photographers use nowadays . I wanted to diminish this ‘ digital ‘ post process procedure as much as possible in the next 12 months simply to make more time for what I love , which is , the act of photography itself . So using this method of only going to develop every 6 months in the darkroom would achieve my desired result and placate me as mentioned above .
I have come to the conclusion that this method of practice is going to be more important in the future . I also atm in time personally prefer it and definitely get more satisfaction out of it . I would rather hold and cherish a good print achieved this way than along the digital route .
It may sound a bit out there lol but film makes my mouth water and I feel like I have really created something special when I get a good result with film . Something I want to keep going back to , over and over again , and that ultimately brings me more joy .
Posted on January 5, 2016
I finally got to develop the images i took before christmas in october , from three rolls of medium format film on ” The Beast ” .
These are a few of my favourites , some of which are going to be part of my latest project on ” Place “
Posted on December 5, 2015
This past few weeks I have frequently been awoken by strange happenings coming from the cellar . It is mainly a noise that i hear , and it is not of any familiar earthly substance . After investigating numerous times I only find it stops or fades as I approach the cellar . Each time I have peered through the keyhole , and thought my eyes deceived me , after noticing a seemingly phantasmal dwindling light which came and went as fast as I blinked , so i put it down to being tired and my mind playing tricks on me .
These eerie occurrences prompted me to set up a voice recorder and my old Pinhole lightbox before I went to sleep . I didn’t expect to come up with anything at all as i am quite a skeptic but …….What i have recorded here has actually made me think twice about staying in this house .
I have named it Desdemona …….
Posted on November 9, 2015
Making the Cinemagraph .
As digital cameras also record HD video, visual artists have been constantly trying to converge these two mediums (still and video) in order to create new forms of expression. One of these that is easy to create but has some potentially useful applications is the Cinemagraph. A cinemagraph is essentially a still image with part (or parts) of the frame masked out to allow a video file to play in just one part of the image.
1 Drag your video into photoshop which will then make the timeline pop up .
2 Duplicate your video layer with cmd/ J .
3 Go to the layers panel and drag your duplicated layer to the top .
4 Then move/drag the duplicated video to the beginning of the timeline .
5 Right click on the top layer and choose rasterize and add a layer mask .
6 Switch to the brush tool selecting the appropriate brush softness and paint over the area you want to keep the movement for .
7 Press the space bar to preview and then export your work by naming the file and choosing H.264 format and pressing render .
One of the surest devices for producing slightly uncanny effects is to leave the viewer wondering wether a particular figure is a real person or an automaton , Lest he should be prompted to examine and settle the matter at once .
Posted on May 6, 2015
Colour Infra Red Film Effects.
This technique simulates the effect of Kodak colour infra red film. Foliage tends to go red/magenta on this emulsion. This technique has recently been revived due to Richard Mosse’s “Infra” documentary series on rebel’s fighting in the Congo.
This can be simulated well on a similar kind of colour image that again contains leaves, trees etc.
The first thing to do is convert the mode from RGB to CMYK. This technique will not work in RGB. (image > mode > CMYK Color) Do not flatten the image .
Once in CMYK, we need to copy colour information from one channel to another. Select the Channels palette, and then select the Yellow channel. Press command +A (ctrl+a on a PC) to select the whole image for the yellow channel. Copy that channel by pressing command+C (or use edit/copy). We then paste this into the magenta channel by selecting that channel and then pressing command + V to paste it into the magenta layer. Then select the CMYK channel. The image should now start to look like a colour IR shot. We still need to tweak the image slightly using the channels mixer.
Select the channel mixer from the adjustment window as shown above. Once the channel mixer is open, adjust the Cyan and Yellow channels as shown below.
The image should now start to look very close to a real colour infra red shot. However, if skin tones were present in the image (like the one used here) then we may have to restore skin tones by using the layer mask on the background copy layer.
Then we can “paint” the original skin tones back in using a black brush. The last thing to do is convert the image back to RGB before any further editing. Image/mode/RGB . Select flatten .Doing this will flatten layers, and PS will warn you about this. To avoid the dialog, you can flatten the image first, then convert back to RGB. Finally, do a curves adjustment later if any excess yellow still exists. You should now have an image like the one below. Finally increase magenta by creating a hue/saturation adjustment layer . And set the Red channel’s Hue to -15 .Finally, with a black brush, brush back the skin tones on the Hue/Saturation’s Layer Mask .Convert the background layer to a smart object by right clicking (cmd+click) . Select Camera Raw Filter from the filter menu .Once in ACR… select the FX filter tab, and increase grain as shown below.As Kodak High Speed Infra Red Colour Film is a fast, grainy film, this completes the effect. (If you resize the image while the smart filter is still active, you’ll need to re-adjust the grain size in ACR by double clicking on the Camer Raw Filter in the layers palette) .
Posted on March 3, 2015
Finally got to scan my box brownie negatives on the flexcolor hasselblad x1 . I used fuji reala 120 format film in a 1933 box brownie and i am very happy with the results especially compared to the agfa synchro box which produced poorer images .
I took the brownie to a local pet sanctuary called easterleigh which homes stray and abandoned animals ( horses pigs dogs cats hamsters etc ) . I was too late to add them to my film project on portraiture which was a shame , but anyway here they are
The first group i will post are from easterleigh and the second group are test shots on an agfa synchro box .
Below are two workers at easterleigh animal sanctuary . They look after all the animals on a daily basis walking feeding and cleaning out their homes .
The Phone box below to the right of the postbox and above the bush across the road my house and the only people that use it are drug addicts to either take their drugs or phone their dealer . There has been a few people taken away in an ambulance from that very spot . Looks very innocent until you know the truth , then it takes on a more sinister tone .
The above image is scanned from an ilford BW hp5 plus iso 400 film negative on an agfa synchro box brownie like camera , on a flexcolor 646 scanner .
|allentimphotos2 on The Man Bar|
|Stephen shaw on The Man Bar|
|allentimphotos2 on The Man Bar|
|Stephen shaw on Colin|
|allentimphotos2 on Colin|