photography

Liam Paton - Union No1 album cover

 

I've been sitting on this project for a short while but I'm really please to announce the release of Union No1 by the award winning British composer Liam Paton.

Liam approached me a few months ago asking to use some of my images for the cover of his first album. I've always wanted to have my work used for music releases and as Liam's music is so beautiful, I was happy to jump on board. I love the design of the cover and think the photograph works perfectly placed. I'm looking forward to working with more musicians in the future!

The View from Saddleworth Moor

©Benjamin Swanson, 2018. 

Over the last few months I've been working closely with The Aleph, on the release of a new photo book.

During the week of Ian Brady's passing in May 2017, I had been staying in Yorkshire and had a trip planned to Manchester. I travelled to Saddleworth Moor to make a conceptually based project as a reaction to Brady's death, and to consider further his beyond barbaric actionsundertaken in the 1960s.

The View from Saddleworth Moor contains 12 images made during a single night upon Saddleworth Moor, the supposed final resting place of Keith Bennett, Brady's penultimate victim who's final resting place he took to the grave. The photo book also contains a short essay, in which I have tried to give some reasoning for the project. The book is completely hand made by the guys behind The Aleph, including a hand screened cover and text. It has been produced in incredibly limited numbers as The Aleph create editions to only 25. 

The book is currently up for presale, please take a look a look here.

 

Below is an exert from the Aleph Website on the project:

 

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PUBLICATION DATE 7th MAY

The View From Saddleworth Moor is an exploration of proximity, a closeness that cannot be touched, something too close, something too far. With relentless precision, this book brings together a series of photographs taken on Saddleworth Moor that unfold into multiple narratives simultaneously revealing everything and nothing; the world and a void. Each image provides an intimate landscape of detail to be navigated and traversed through allowing the viewer to reveal fragments that question themselves, endlessly regenerating with nothing to pinpoint. The photos reveal an intimate story, one denied closure and one that addresses the darkest recesses of the mind.  

Each book is handmade with screen printed artwork and accompanying essay. The pages feature hand-cut inlays where the photographs inside the book may be removed and reinserted if needed. 
Limited to 25 editions.

Patrick Sampson is a London-based visual artist, whose works take a nihilistic view and often scrutinises the human condition through religious iconography, mythological symbolism and allegory.

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Colour Awards 2017

©Patrick H. Sampson, 2014.

©Patrick H. Sampson, 2014.

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Im pleased to say that I received an honourable mention in the 2017 International Colour Awards with my image of a Wild Horse dozing in the New Forest. I must say that I'd forgotten I'd applied until my boss saw my entry on the list! If you'd like to see some of the other entries, please take a look here.

The Return To Nottingham Trent!

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Over the past 12 months, I've been given the opportunity to present a series of Guest Lectures to aspiring Photography students about becoming a Photographic Assistant.

The first was on a slightly ad hock basis after being asked by Lottie Davis to step in last minute to talk as part of a programme of lectures to students of the prestigious Falmouth University Photography course. Following on from my boss Pål Hansen's talk on his career, I spoke to the students about:

  • My background and How I came to be an Assistant.

  • What an Photographic Assistant is and differing types of Assistants

  • My role with Pål and what a average week looks like

  • The different roles I play from day to day

  • The benefits of Assisting

  • What makes a good Assistant

I ran through some of the different shoots I've worked on using Pål's images as examples ie. editorial/commercial etc. and finished offering advice to any would be assistants. I found that the students seemed really interested and had a lot of questions. I think the gap between a Photography Student and an Assistant seemed much more accessible that the gap between a Student and an established Photographer so they really wanted to hear what I had to say.

I was then asked to speak to participants of the DEVELOP scheme at The Photographers Gallery. The scheme aims to help young people get into the photographic industry by providing a wide range of talks, guest lectures and workshops. As a youngster, I had no idea about the photography industry, let alone how I'd go about being a part of it, so I jumped at the chance to being involved in helping people establish ideas on prospective routes into the industry.

Shortly after the talk at TPG, I had spoken to a past tutor at Nottingham Trent who decided it would be a great idea for me to talk to the NTU Photography 3rd years about Assisting. My partner Imogen (whom I met during University), who works as PA to the artist Yinka Shonibare MBE and co-ordinates the Guest Projects initiative at his North London studio, was also invited along to talk and answer any questions about her route into the Arts industry.

 

***On a slightly side related note, I am also proud to announce that we were asked to be Alumni Fellows of NTU, a role that I'm really excited to fulfil in the future and it was an absolute honour to be asked.***


If you would like to read the article published by NTU, please click here.