By John MacLean, 26/03/13:
Dutch artist Germaine Kruip included one of my landscape photographs (Cloud shadow near Bunabhainneadar, Harris) in her light piece “The Wavering Skies” (2005). Photograph published in the Frieze Art Fair Yearbook 2005/6. The image was flipped right to left for printing, but hey ho 🙂
By John MacLean, 21/03/13:
Another lens bought for the Nikons, this time an extreme wideangle zoom (going out at its widest to 15mm focal length in the old film lens equivalent). This will be good for photographing interiors and adding a dramatic slant to commercial work and wide landscapes.
Best not to think too long about how much this one cost, better to think about the lovely photos it’s going to (have to) produce!
By John MacLean, 05/03/13:
As the days lengthen and the light improves after the steady grey of January and most of February, I’ll be making quite a few photo trips as time allows over the next few months, adding updates to my photos of Harris (especially the hills and round the coast), St. Kilda and the Uists/Barra.
I’d also like to photograph again on Eriskay, as my last two visits there didn’t give me enough time to explore the island properly.
By John MacLean, 19/11/12
Below is a link to the installation photography done on Helen MacAlister’s recent exhibition “At the Foot o’ Yon Excellin’ Brae” at An Lanntair, Stornoway.
(PDF file, 4.4 MB, pages 11-47)
This is (part of) the most complex installation photography job I’ve done to date in An Lanntair, but well worth it in the end!
Installation photography (opens in a new window, or right-click and save)
By John MacLean, 04/08/2012:
Here’s a link to a short video I made of Scottish artist Gwen Hardie’s exhibition “Boundaries” at An Lanntair, Stornoway, Isle of Lewis, in August, 2012.
Gwen Hardie’s work engages with figuration and the act of perception. She first gained attention with her large scale tightly cropped portraits of women. Her magnifications of skin lit by natural light resemble light effects in the landscape and micro/macro views of cells/earth. Observing from life, she employs aspects of classical painting and color theory to render a lifelike presence. Intimate and monumental, the body-image shifts back and forth perceptually between an atmospheric illusion and a thing of gravity, real and tangible.
More info on Gwen and her work can be found here.
By John MacLean, 31/05/12:
Some new mounted prints, mainly of the three central standing stone sites, have been added to the stock at Calanais Visitor Centre. More to come soon!