L'exposition est Ouverte!

 

All over in a whirl....

After all the preparation... the packing... the toolkit.... the spare hanging bits and pieces ... and about four hours of the Private View... the pressure is over – RELIEF!

I've had fantastic feedback from many different quarters, and the icing on the cake was selling a print (Child and Terrier) to a young couple who live in Paris. So even when the exhibition at Le Petit Choiseul ends on the 28th, there will be a corner of France where Under Glass continues to be shown!

 
Child and Terrier, Passage du Grand-Cerf.  Ted Kinsey, 2014

Child and Terrier, Passage du Grand-Cerf. Ted Kinsey, 2014

London, Paris, New York...

 

Only 10 days to go before Under Glass opens at Le Petit Choiseul, and every picture is framed and ready to go.  But my journey to France will be a somewhat circuitous one – I've taken some of my best images in New York over the years, so I'm really looking forward to spending seven days there... en route to Paris!

I have a wish-list of locations to visit photographically, and top of that list are several places where the New York Subway runs on an elevated section above ground – remember that scene from The French Connection with Gene Hackman driving “underneath” the train? A good one seems to be in Manhattan on the Q line, near Canal Street; another out in Brooklyn, where Line 3 runs on Livonia Avenue. We'll see!

Before I go to New York, I'm giving a talk to Pinner Camera Club on my previous project, City Shapes, photographed in London. I've enjoyed re-visiting all my prints in readiness.

So here, in my opinion, is the best of New York and City Shapes...

 
Crossing Madison Avenue...

Crossing Madison Avenue...

Chevrons

Chevrons

Defense de Fumer!

 

As a street photographer taking candid pictures, I’ve been well aware of the French privacy laws during my visits to Paris for my Under Glass project.

In brief, the law states that if a person is the “principal feature” in a photograph, then permission must be sought from that person before taking it. For me, this makes candid photography almost impossible.

I have one excellent image, taken in August, of a young woman enjoying a cigarette break that I’ve been pondering upon regarding the privacy laws. I’ve now decided that I simply can’t afford to risk hanging it in my exhibition.

So here I am – one picture short of an exhibition. And here it is – suitably stubbed out!

 
A025Black-out.jpg

A Dynamic Duo

 

Next week I’m off to Paris again for the day, on what will be my penultimate trip before my exhibition. I know that, currently, I have over 30 prints (maybe 35) that I could hang, but I’m now at the point when I’m starting to think about what images I've got – and, more to the point, what I haven’t!

In my opinion, an exhibition needs pace or dynamics. By dynamics, I mean that the photographs on show will need to vary, and not just in content: vary in composition and in style; vary in depth of field, in shape and form, in light and shade... the list is a long one.

So the prime purpose of my next two trips is to try to complete the exhibition dynamic by filling the visual and/or photographic “gaps”. The trouble is, of course, I’m taking candid photographs with a human content. Despite my best intentions, and perseverance, nothing is guaranteed.

There is one shot that I know I want to try to capture, as it would complement a photo I’ve already taken: namely, Audrey Again, Passage Vendôme. The “Audrey” referred to is the well-known Audrey Hepburn canvas print, sold by IKEA.

A very similar “Audrey” print is on the wall in Little Séoul, a Korean café in Passage Choiseul – just a few shops along from where my exhibition will be. Will the café still be there...? Will it be open...? Will the print still be on the wall...? And even if those answers are in the affirmative, will the other required components of the shot be there? 

Required components??? The truth is I simply won't know until I get there and start waiting for everything and/or anything else to fall into place around the Audrey print, with me poised to click the shutter.

And that might be a very... long... wait...

 
Audrey Hepburn. Pjätteryd canvas print by Phil Handley/IKEA

Audrey Hepburn. Pjätteryd canvas print by Phil Handley/IKEA