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Edward Burtynsky

Manufactured Landscapes

by JOHN K. GRANDE


Peter Arnold

Beauty Fades - a photograph lives forever

by Max Thurlow


Camera Obscura:

The Glittering Prizes

by Mike von Joel


Polanoir Gallery

The Instant Fix

by Ian McKay


Dolce & Gabbana

The Power and the Glory

by Mike von Joel

 

Peter Arnold
Beauty Fades - a photograph lives forever

by Max Thurlow

The beauty of flowers is fleeting. The moment they are cut for the vase the beauty fades, as if the act of display carries with it the seeds of decay and ruin. Is it the same with a beautiful woman? A beautiful man? It's enough to say here that for Peter Arnold, it was photographing beautiful women for the glamour mags that took him out to relax in his London garden and, workaholic that he is, he couldn't resist the exotic blooms bursting with life and colour.

SHOOTING FLOWERS started as a hobby, but Peter Arnold has an uncanny knack of turning hobbies into acclaimed and lucrative pursuits. Tulips, his first flower book, so impressed Sir Elton John he agreed to write the foreword, and Queen Beatrix of Holland hands out copies to her guests. Little wonder both Ilford and Kodak offered to exhibit the work and the book was a best-seller. Tulips appeared at the same time as Men Exposed, a volume of male nudes, both published by TeNeues.

'It is not easy to photograph the same type of flower perhaps a hundred times and make a book that is varied and interesting,' he says. 'It is essential to bring out something special about each individual flower.' That is something he is able to achieve and it is entrancing to examine both books and see how Peter exploits his developed sense of light to bring his subjects to life, be it flowers, male nudes or landscapes, the minutia of detail, luminosity and shadow creating images full of such power, beauty and simplicity it seems the very soul of his subjects are revealed

He is working on two new books, Orchids, a follow-up to Tulips, and a volume of black nudes, these parallel interests competing with Peter's afternoons in the studio painting – flowers, naturally. Painting has given him a clearer fix on his photography and photography has helped him light his paintings better. 'I have always worked within the parameters  of film, light, lens and subject to get perfect results and perfect colour rendition,' he notes. 'Everyone thinks I use a 10 x 8 camera, but in fact I have been using the same Hasselblad for so long it is probably an antique now!' With studio shots Arnold usually makes do with a single light source. He uses as high an F stop as possible to get maximum sharpness and definition, in order that the images can be blown up large for exhibition work. He uses mainly Ilford Velvia for colour - high colour saturation, and Kodak Plus X for black and white, again high resolution for extra detail. He has yet, he says, to go digital.

Peter Arnold is a recent winner of the Gold Photographic Award through the prestigious Graphis company in New York and his work is showcased in the 2008 Graphis Annual.


www.artofpeterarnold.com

 
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