Grand Court

 

The British Museum is a place you can lose yourself in both literally and metaphorically. Not only is it filled with astonishing artefacts, the architecture is evolving too. This is the central Grand Court area designed by Foster & Partners and is a special place. Not really new anymore and photographed by nearly everyone that visits. Thats quite a lot. So nothing new or original for me here, but capture something of the essence of the place is a challenge. To get this shot I had to take several images and stitch them together to form the whole. I think it worked well in the end. 

William Mortensen

 

L'Amour (1935)

As the debate on AI generated images is currently intensive, I thought it would be interesting to revisit an early photographer who was mostly written out of photographic history by the 'purists' such as Ansel Adams and the f64 group because of his photographic manipulations. 

Mortensen categorically rejected the use of realism for its own sake, calling it a “blind alley”. Photographs, he said, should be more than just objects of aesthetic beauty to be admired; they should have an effect on the viewer, exploring extreme emotions and inspiring extreme reactions.

                                                          Self portrait as the Mad Hatter (1928)

William Mortensen was a controversial photographer whose work challenged the aesthetics of the f64 group, which included prominent photographers such as Ansel Adams. Mortensen's unique style, which relied heavily on manipulation and post-processing techniques, was considered antithetical to the group's emphasis on pure, unadulterated photography. While Mortensen's approach was not widely embraced by the photographic community of his time, his work has garnered renewed interest in recent years, as it has come to be appreciated for its artistic value and innovation.

Born in 1897, Mortensen began his career as a commercial photographer, working in Hollywood and producing portraits of movie stars and other celebrities. In the 1920s, he began to experiment with a range of photographic techniques, including the use of multiple exposures, darkroom manipulation, and other forms of post-processing. Mortensen's photographs often incorporated elements of the grotesque, the surreal, and the supernatural, creating images that were at once eerie, unsettling, and captivating.

Despite his innovative approach, Mortensen was often at odds with the photographic establishment of his time, particularly with the f64 group. Founded by Adams, Edward Weston, and others, the group espoused a philosophy of "straight" photography, which emphasized the use of large-format cameras and sharp focus to capture the world as it appeared. In contrast, Mortensen's work relied on extensive post-processing and manipulation, which was seen as a violation of the purity of the photographic image.

The tension between Mortensen and the f64 group came to a head in the early 1930s, when Mortensen published a book called "The Command to Look." In this book, Mortensen argued that photography should be seen as an art form, and that photographers should be free to manipulate their images in any way they saw fit. He also criticized the f64 group for their narrow definition of photography, arguing that they were stifling artistic innovation and creativity.

The controversy surrounding Mortensen's work continued throughout his career, with many photographers and critics dismissing his images as mere curiosities or grotesque aberrations. However, in recent years, there has been a growing appreciation for Mortensen's contributions to the art of photography, and his work has been featured in major exhibitions and retrospectives around the world.

The controversy surrounding Mortensen's work can be seen as a precursor to many of the debates that are taking place today around the use of artificial intelligence in creative fields. Just as Mortensen's post-processing techniques challenged the traditional norms of photography, AI is challenging the traditional boundaries between human creativity and machine intelligence. Some argue that AI-generated art is not "real" art, and that it lacks the depth, nuance, and emotional resonance of human-generated art. Others see AI as a tool that can expand the boundaries of creativity and allow us to explore new forms of expression and innovation.

Like Mortensen's work, AI-generated art is often dismissed as a novelty or a gimmick, and many critics are skeptical of its artistic value. However, as we continue to explore the potential of AI in creative fields, it is clear that these debates will only intensify. As Mortensen himself argued, the definition of art is constantly evolving, and we must be open to new ideas and new forms of expression if we are to continue to push the boundaries of creativity and innovation.

The debate goes on...

Off for the Sabbot (1927)

Battersea Power Station

 

Ever since I first saw the cover for Pink Floyd's 'Animals' album, I've been impressed with the monumental industrial architecture that is Battersea Power Station. That floating pig between the stacks, brilliant. The album chose the Power Station as a dystopian symbol of capitalism. Cruelly ironic to see what the place has become today as a celebration of capitalism. Read about the photo and the album here.

Now this iconic place has been turned into a very upmarket shopping mall, surrounded by apartments only the rich can afford. What a transformation. The last time I wandered around Battersea, it was a dark and forbidding experience. Not any more. Today it's filled entirely it seems with the new part time residents of rich arabs and asians and the Power Station itself is surrounded by high rise glass and steel skyscraper apartments for them to relax in. The district is more representative of New York than anything else.  

But at least they have retained the massive brick edifice of the Power Station itself, and for that I can forgive all the avarice on display. I think. Without it and them, the building would have been demolished without a doubt. 

So now, if you can afford the £20 it costs, you can also travel up a lift inside one of those wonderful chimneys to take in the view. 

I spotted how the bollards of the new Underground Station echo the chimneys of the Power Station. Serendipitous for me as the photographer.

Four Seasons Hotel

This lovely hotel is for those more fortunate in life and is situated in acres of parkland with a drive way that's feels like it's over a mile long. Here, for those with much deeper pockets than mine, can come to relax from their stressful lives in opulent surroundings. Staff are, of course, always on hand to help de-stress with something warm and comforting. Usually alcoholic. Nice. 

I contemplated all this rather ruefully while leaning against the cold of the wind and the sting of rain while taking this picture for no other reason than I thought it might make a good shot. Madness. 

Camberley

 

The town, as most people see it as they approach along the A30, appears as one best avoided and encourages you to keep on driving. The length of the A30 fronting the town is horrendous, lined by dilapidated buildings and hoardings, which only gets worse as you then pass through an industrial area. Which is a shame as the same road also has the elegant entrance to RMAS along its route. But that is hidden away and if you blink, you've driven right past it. It's a terrific and genuine feature of Camberley that isn't made a feature. 

Those brave souls that do turn off and venture into the town see a slight improvement. The old high street has been recently refurbished but is already deteriorating as citizens discard their chewing gum and utility companies dig up the smart expensive new paving and replace it with black tarmac.  

Overall, the town seems to be rapidly falling behind its surrounding competing towns. The only real growth being the unrelenting development of flats and care homes. 

Bob Carlos Clarke

Keith Richards

My next iconic photographer is Bob Carlos Clarke. 

Bob photographed by his daughter

Clarke was a renowned British photographer known for his provocative and captivating images that explored themes of sexuality, fetishism, and glamour. I remember being astonished at his work when first seen. And now, looking back, it's clear he was a brave creative if controversial photographer. Ignoring the sexualization debate, his images were often very prescient of today's digital manipulations and trends. Some say the dawn of easy digital methods undermined his confidence for work and dedication to his darkroom methods and contributed to his depression and sad ultimate death. 

His work has been exhibited in galleries and museums around the world, and he was widely regarded as one of the most influential photographers of his time.

Born in Cork, Ireland in 1950, Clarke studied photography at the London College of Printing before embarking on a career as a commercial photographer. He quickly made a name for himself, working for high-profile clients such as Vogue, GQ, and The Sunday Times Magazine. He also became known for his celebrity portraits, capturing the likes of Keith Richards, Damien Hirst, and Rachel Weisz.

Clarke's most iconic images were those that explored themes of sexuality and fetishism. He often used models dressed in latex and leather to create images that were both alluring and unsettling. Of course, his photographs were sometimes controversial, and he was often accused of objectifying women and promoting pornography. However, Clarke defended his work as a celebration of female beauty and empowerment.

Despite his success, Clarke struggled with depression and alcoholism throughout his life. In 2006, he tragically took his own life at the age of 55. His death was a shock to the photography community and sparked a renewed interest in his work.

Clarke's legacy is a mixed one. On the one hand, he is remembered as a groundbreaking artist who pushed boundaries and challenged conventions. His images continue to inspire and influence photographers today. On the other hand, his work has been criticized for objectifying women and perpetuating harmful stereotypes. Some argue that his images were exploitative and did more harm than good.

In the end, Bob Carlos Clarke's life and work are a reminder of the complex relationship between art and ethics. His images provoke strong reactions, both positive and negative, and his legacy continues to be debated by art critics and feminists alike. However, one thing is certain: his influence on photography is undeniable, and his contribution to the art form will be remembered for generations to come.

Surrey Heath

 

Another night or dusk shot undertaken using my thirty-plus year old perspective control lens. This shot needed about 30mm rising front and a ten second exposure. 

These are the vast edifices of the council buildings of Surrey Heath which dominate one of the main entrances to Camberley town. It's not an unattractive building, but the council have decided to vacate the premises and relocate to one of the former shops in the town centre shopping mall. Eventually. Maybe. Then I guess this building will (or might) be demolished and something really original will replace it. Like a care home. Or more flats.