John Blakemore is a master photographer and printer from
Great Britain, who has been practicing his art since 1956. Renowned for his
richly detailed and nuanced landscapes and still-lifes, he has influenced
generations of photographers through his classes at the University of Derby as
well as countless workshops. Students and fellow photographers often
acknowledge that Blakemore has "enriched their lives beyond compare."
http://www.lensculture.com/blakemore.html
John Blakemore wasn’t a photographer from childhood, being more
obsessed with drawing wildlife. His passion for photography was inspired when
his mother sent him an issue of Picture Post when he was in Africa when serving
in the RAF as a nurse.His landscape photography was always about ideas about place rather than just the place itself. He wanted to capture a sense of the forces that shape the landscape at large. The results are photographs that have a raw power with a presentation that can look uncomposed to the hurried eye but is actually exquisitely balanced.
http://www.onlandscape.co.uk/2011/03/master-photographer-john-blakemore/#/
"The tulip journey, then was ultimately a visual journey, an investigation and discovery of visual possibilities. The tulip became an object of attention and fascination. It became both text and pretext for an activity of picture-making. The photographs are not finally, or not primarily, about tulips: they contain tulips. To say this is not to diminish the role of the tulip. Had the vase of flowers on the table when I made the first tentative exposures exploring the space of my kitchen been, let’s say daffodils, then the journey, if it had ever begun, would in all probability have been shorter."
http://www.lensculture.com/blakemore.html
"At the conclusion of any extended piece of work, one
inevitably questions the results. What have I learned during this journey? What
has this intense period of activity been about?"
"The tulip journey, then was ultimately a visual journey, an investigation and discovery of visual possibilities. The tulip became an object of attention and fascination. It became both text and pretext for an activity of picture-making. The photographs are not finally, or not primarily, about tulips: they contain tulips. To say this is not to diminish the role of the tulip. Had the vase of flowers on the table when I made the first tentative exposures exploring the space of my kitchen been, let’s say daffodils, then the journey, if it had ever begun, would in all probability have been shorter."
"The daffodil, although it is a delightful flower,
exhibits a stubborn rigidity of form; it lives and dies at attention. The
tulip, however, is a flower of constant metamorphosis; it stretches towards the
light and gestures to occupy the space."
"I spent much time just contemplating the flowers, with
the camera far from my thoughts. I delighted in the tulips’ voluptuous
presence. Such periods of contemplation, of visual pleasure, are always a
necessary part of my work process. It is a deepening of my experience of, and
of my relationship to, my subject."
"One cannot photograph experience, but to have lived it
can change and develop habitual ways of seeing and of knowing."
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