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Staying positive

I have now come to that moment. The moment that you long for. When you can look at your exposures as prints for the first time. It is something special to hold them in your hand. Just small previews, I know, but still ... actual prints :-)

These prints and negatives are part of the series "Emergency blanket". I'm starting to get an impression of what I am looking for. The question is if the material meets the requirements of complementing each other. And how about the context? Do they tell me anything?
Frankly speaking, are they good enough? It is hard to tell before you can look at the prints in real life.

Nothing is set in stone so far. This is just the beginning.


The positive negative

Hi there,

Just want to share the first glimpse here.

I've now processed several batches of black and white 4x5" sheet film and I'm euphoric. Almost everyone looks nice. And that feels good because a lot of the exposures are from poor light conditions with long times. If you have experience shooting film you know that calculating correct shutter time for long exposures can be a struggle since you always have to compensate for the reciprocity effect. But all negatives so far look good. They seem to have a balanced tonality - not too hard and not too soft. And the reason for that is something that you really can't be a 100% sure of until you have the final result (the developed negative) in your hand. That is the combination of correct exposure settings and an accurate development process.

So the major part of the processed negatives seem to have a lot of information both in the shadows and highlights. I took a snapshot with my mobile just to show you. This negative is from an exposure late at night and it looks thin in the shadows (the light parts of the negative) but if you view it with a loupe you see that there is information there. The conditions during the session was a landscape that got darker rapidly and the exposure time was set to 15 seconds.

Next up is the results from the first preview scan with my crappy old Epson. Trying to decide what negatives to choose for high-quality scans.

Best wishes, Andreas.

One of the first exposures in the ongoing project "Message in a bottle"

One of the first exposures in the ongoing project "Message in a bottle"

Moving forward

I posted some weeks ago about how exciting it was to initiate and launch a new fine art project. I had just taken my first exposures with my new 4x5" field camera and was anxious to get on with the work.

I have now had the time to process the film from the first exposures that I took up in Tromsø. The leaf negatives just look awesome. I can't understand why I've had such a long break from working analogue. Nevertheless, I'm there again now and it's really nice to go back to the roots. Not that I don't like shooting digital. That's amazing in its own way. My professional assignments and all commercial jobs are done digitally. I couldn't do it without my digital gear. Nothing can beat the digital technique when it comes to efficiency and control. But that's of little importance when working with fine art photography. The idéa, the concept, the story, the authenticity. That matters for all photography. But add aeons of time needed and also the fact that you can't see the results until you have been in the lab and developed your exposures - and you have a procedure that really test your patience, stamina and determination. Because all that combined forces you to think things through in a different way. And for me, that boosts my creativity.

Analogue large format photography is slow photography in its purest form where every exposure is meticulously prepared. 4 exposures in a session is a good result for me. Ridiculously, I know. But I love it.

Cheers, Andreas.

Yours truly checking out possible positions with the field camera in full daylight to be prepared later at night when shooting for real (© Pär Jadelius)

Yours truly checking out possible positions with the field camera in full daylight to be prepared later at night when shooting for real (© Pär Jadelius)

Still life on location

Tear from the latest issue of the Swedish Public Employment Service's (Arbetsförmedlingen) internal magazine - På Jobbet (At Work).

Had to set up a temporary studio on location in order to shoot still lifes of some different disability aids that help people with special needs coping with work. Always fun to play around with the studio lights when shooting still life.




In the mail today

Always nice to see your images in print. This portrait assignment was shot for the Dutch global certification organisation Kiwa. Published in their company magazine the Quality Quarterly.

Thank you to the dog that made it possible to make the portrait a little bit more interesting.




New art projects

The last pair of months has been exciting as I have prepared for the start of some new fine art photo projects. I have thought a lot about what I want to say - trying  to visualise the result in my head.  I've decided to go analogue and big this time. So now I'm the proud owner of a Linhof Master Technika. It feels good to handle a large format camera - the fine mechanics, being able to freely manipulate the focus plane and film plane independently. And last but not least to load 4x5 inch sheet film in a dark room and processing it manually by myself.

The premiere with the new gear and the start of the new projects were made during last weeks easter holiday. Not in Umeå where I normally reside but up even farther north in the Tromsø region in Norway. The reason for that is actually connected to one of the projects with the Swedish working title "flaskpost" or in English, it would be "message in a bottle". This very project needed to be started physically in a special location and that location is one hours drive from Tromsø. More information to come when I have some results that can be showed.

I've also taken the first images in the two different projects with the working titles "khom loy" and "emergency blanket". I will inform about the progress in the following weeks.

Yours truly in the middle of the creative process

Next up for me is to start developing the exposed sheet films. All done in black and white. The plan after a hopefully successful developing of the negatives is to scan and digitalise them. After that, I can look forward to the process of making the prints ... But for now, the main concern is to develop the negatives. Fingers crossed for perfect exposures and a flawless developing process.

Best wishes,

Spring flood

Ångermanälven - one of the great rivers of northern Sweden.

At this time of the year the water levels peak due to large quantities of melting snow. The average discharge during the whole year is 500 m3/s, almost 10 times the river Thames. Sadly the river Ångermanälven is tamed by numerous dams with hydroelectric power stations. So if you want to see the raw power in the large rapids and streams you need to visit at this time of the year.

This image is from Långbjörn a power station with a height of fall of 34 m.

War and Peace

Looking forward to the opening of the exhibition War and Peace this Friday at Gallery Number Three in Carlisle UK. I will participate with a collection of 4 B&W portrait images from Swedish Lapland and two landscape images in colour. I'm very glad to exhibit with 3 other interesting and respected artists Kevin Weaver, Alison Critchlow and Rowena Beaty in this group show. Welcome!