Manchester Photographer, Jonathan Pow

To see some of my latest work take a look at the links below

  • Editorial Photographer (My work for publications, magazines and newspapers)
  • Commercial Photographer (My work for commercial clients, from static to lifestyle product photography - My preference is lifestyle photography)
  • PR Photographer (My work for public relations and corporate sectors for small, medium and large businesses)

If you have any questions please get in touch

Also, check out my latest Photo Jobs Blog entries below

Photo Jobs Blog

The Photo Jobs Blog

National Trust – Fountains Abbey, North Yorkshire

This photograph is currently on the National Trust’s home page here: http://www.nationaltrust.org.uk/

My client, The National Trust, wanted images to show the seasonal aspect of their fantastic site. Such as these beautiful snowdrops shot on a sunny February weekend. The images were for publicity, such as press photographs for newspapers, and also website and brochure images like the one used above.

If you haven’t been to Fountains Abbey, you really should. It’s in North Yorkshire, between Harrogate and Ripon, and is frankly stunning, and makes a great day out. If you’re that way inclined, you can even dress up as a monk and have a wander round!

You can find details about this wonderful place on the National Trust’s special website here http://www.fountainsabbey.org.uk

To see National Trust have to say about Fountains Abbey click here

Cistercian abbey, elegant Georgian water garden and medieval deer park

For centuries people have been drawn to this inspiring place.

From humble beginnings the magnificent abbey was established by devout monks seeking a simpler existence. The atmospheric ruins that remain are a window into a way of life which shaped the medieval world.

When the socially ambitious John Aislabie inherited Studley Royal, he set about creating an elegant water garden of mirror-like ponds, statues and follies, incorporating the romantic ruins into his design.

Green lawns stretch down to the riverside, a perfect spot for a picnic. Riverside paths lead to the deer park, home to Red, Fallow and Sika deer and ancient trees; limes, oaks, and sweet chestnuts.

One-of-a-kind, this special place is now recognised as a World Heritage Site.

 

If you have an attraction, historic site or indeed a World Heritage Site (like Fountains Abbey) and need a photographer, please get in touch. Contact me on 07901 617571 or email on jp@jonathanpow.com and I’d be pleased to help.

I can shoot commercial lifestyle or reportage-style photography for brochures, websites or press. You can browse my other areas of work on this website, to get an idea of what I do for businesses or organisations.

Yorkshire Post – Lynda Benglis at Hepworth Wakefield

Please see the original article on the Yorkshire Post’s website using the following link: http://www.yorkshirepost.co.uk/yorkshire-living/arts/art/lynda-benglis-off-the-wall-by-nature-1-7111021

Another one for my Press Clippings Page

Another one for my new press clippings / tearsheet archive, this time in the Yorkshire Post. 
I’ve had so much work in quite a few publications over the years, it can be hard to keep track, let alone show people a little of the diversity of my work! It’s bloody remarkable it’s taken this long for me to create this clippings archive (2015… I’ve been working for the papers since 2005!). Alas here it is, starting with some recent more published work.
Click the navigation links above to bring you ‘up’ to view other published work in this archive.

Exhibition / Gallery Photographer

Working as a gallery and exhibition photographer, I’ve been privileged to work with some wonderful galleries and artists. One of the recent artists I worked with was Lynda Benglis for the Hepworth Wakefield.These images were for the galleries’ press and PR usage. Providing coverage for the Hepworth Wakefield around the UK and beyond, online and in print.

 

If the link above isn't working, click here to see the original article from my clippings archive

Lynda Benglis: Off the wall by nature

Published on the 22 February

Occasionally shocking, always thought-provoking, Lynda Benglis has brought her art to Yorkshire for a retrospective exhibition. Words by Yvette Huddleston, pictures by Jonathan Pow.

Gutsy, confrontational, mildly shocking but with an unmistakable sense of playfulness and irony sums up the image for which Greek-American artist Lynda Benglis is best known. It’s now more than 40 years since Centrefold first appeared in Artforum magazine but it is testament to its lasting power that the image still provokes discussion. A self-portrait of the young Benglis, in the photograph she is naked (save for a pair of white-framed sunglasses), looking defiantly straight at the camera. Oh and she also happened to be holding a sex toy.

An artist of great range and versatility, over her 50-year career Benglis has worked in a variety of forms – sculpture, painting, photography, film – and in diverse materials including pigmented beeswax, polyurethane foam, fabric, glass, metal and more recently paper and ceramics.

As I wait to meet the renowned artist and creative champion of feminist politics at the Hepworth Wakefield, where the first major UK retrospective of her work opened earlier this month, I reflect upon how appropriate it is for the show to be taking place in this particular gallery. After all, like Benglis, who first made her mark in the robustly masculine New York art world of the late 1960s, Hepworth was similarly a woman forging her way in what was at the time a very male-dominated arena.

When she arrives, fresh from an enjoyable trip to the Yorkshire Sculpture Park (“I loved it,” she declares), Benglis is warm, expansive and good company. At 73, she is one of America’s most significant living artists and remains prolific, continuing to challenge the traditions of sculpture and painting and still experimenting with form and material. She is keen to talk about her latest works in ceramics (small-scale, beautifully textured and brightly coloured work) and polyurethane (tall, fluid “fountains”, full of movement) along with several delicate moulded paper works that are being exhibited publicly for the first time.

“As a student I majored in ceramics and painting,” she says. “And I started back with ceramics in the early 1990s and have been working on that pretty constantly off and on, creating experimental pieces and combining paper and ceramics. Now I am making my own paper in my studio in Santa Fe.”

Benglis has studios in four locations. As well as the aforementioned New Mexico base, she divides her time between New York, Ahmedabad in India and Kastelorizo in Greece with each place – its colours, motifs, landscapes and methods of fabrication (she often collaborates with local craftspeople) – providing inspiration for her work and exerting a subtle influence on it.

“There is a visual connection, especially with nature,” she adds. Benglis has said in the past that all her work is in some sense inspired by the natural world. “Absolutely, and nature does have to do with location and also with how you have a connection in terms of people – the socialisation of location.”

Her first experience of the importance of this link with place came when she was 11 and travelled to Greece with her paternal grandmother. “We visited her home island and I loved the landscape there,” she says. “Coming from a very flat, muddy, bayoux area in Louisiana, I was very touched by the rocks. It felt very safe there and my grandmother let me run around – I took photographs of the landscape with my little Brownie camera. There were some caves where you could swim and see the phosphorescence and there is a natural buoyancy because there is an amazing amount of salt in the water, the water feels like silk – and visually you are surrounded by this glow. There is all this sensory material around you. I began to think about what phosphorescence is and does, what the light does, how we perceive things and how we connect with them.”

Early works in the exhibition that reflect this fascination with light, colour and texture include Night Sherbert (1968) created from Day-Glo pigment, phosphorescence and poured polyurethane foam, and Rumpled Painting/Caterpillar (1968), made of poured pigmented latex. Later work features a series of glitter-encrusted “knots” such as Sparkle Knot IV (1970), one of the colourful wall-mounted “peacock series”. Zanzidae (1979), constructed from wire mesh, enamel, glass and plastic, and the brash molten glitz of the bronze and gold leaf of Ghost Dance/Pedmarks (1995-96). All Benglis’s pieces in some way highlight her constant exploration of the physical dialogue between work and viewer. And movement is a key aspect of her work which has a wonderful fluidity to it.

“Movement is so important,” she says. “That is what calls your attention to the sculpture, so it is maybe the most important thing.”

She is very pleased with the way in which the show has been installed at the Hepworth and how it suits her pieces, giving them space to breathe. “I am so impressed with how the exhibition was planned and the way the work has been placed within the space,” she says. “It tells me even more that my pieces have so much to do with weight, buoyancy and gravity. Sometimes they have no right side up, although they might have a position that works best.”

Born in Louisiana in 1941, Benglis is of the generation of artists who followed in the wake of Abstract Expressionism, Minimalism and Pop Art (she counts Andy Warhol, Sol LeWitt and Barnett Newman among her friends and was hailed in 1970 by Life magazine as “the heir to Pollack”) and much of her work could be described as “abstract”. However, she has her own personal take on that. “Abstraction may mean something a little different to me,” she says. “I am more involved with flesh and nature, bringing forth the sense of its own life. Drawing and the linear aspects of drawing in the sculpture are important to me. Our bodies and our sensory perceptions is what interest me and I feel at one with the material.”

Several of her photographic works and videos are also on display including self-portraits of Benglis dressed in Greek national costume and in masculine garb with slicked back hair and shades leaning against a sports car, as well as the sensual yet humorous film Female Sensibility(1973) featuring extreme close-up shots of Benglis kissing and licking the face of fellow artist Marilyn Lenkowsky while on the soundtrack a radio plays with the mindless chatter of (male) DJs interspersed with cheesy country and western songs. That kind of playfulness, humour, irony and intelligent questioning is present in much of her work, challenging the viewer to confront their own perceptions and preconceptions.

And, of course, there is “that” photograph, which we can’t avoid talking about, although I suspect she may be tired of it, like an actor who is still asked about a role they played many years ago – even though they have played several other equally significant ones in the meantime. So I approach it in a roundabout way, remarking that she is often referred to as a feminist icon and wondering whether this is a label she embraces or rejects.

Her response is pragmatic. “I am interested in making works that have a sense of their own presence,” she says. “The Artforum picture was about humanism – it was a humanist issue. The icon that was made is not really me but I knew what I wanted to do with that image. I wanted something that looked back at the viewer and made the viewer understand that it mocked or talked to both sexes and it was a matter of being free of the sex issue. The art looks back at you and the viewer can think what they like. I think finally it’s not saying one thing or another, but whatever it was saying it was successful.”

Before we part company we go and look at Hepworth’s work together – Benglis is more familiar with the work of the Wakefield-born sculptor’s contemporaries Henry Moore and Anthony Caro – and she is bowled over by it, particularly the iconic Winged Figure. “It is so unusual and very beautiful,” she says. “Her works are extraordinary – and I respond to their tactile quality. They are about the most elegant sculptures I have ever seen.”

Looking back over 50 years of her own work has been enlightening, says Benglis. “It makes you think about your own sense of time and what you can do. I like to keep interested and keep going. I have a sense of irony and humour about what I do but I am dead serious in terms of form and how I am doing it and why I am doing it. I like to be challenged and to challenge others but I was brought up to be very polite,” she laughs. “I am a nice Southern girl, so what appears to be confrontational is usually just an argument with myself.”

The exhibition of Lynda Benglis’s work continues at the Hepworth, Wakefield, until July 1. Admission free. www.hepworthwakefield.org

 

If you need a photographer, either specifically for exhibition or gallery photography or PR / press, please contact me, either call on 07901 617571 or email me on jp@jonathanpow.com

The Sun – Lady Eats 8st of Cheese a Year

To show how diverse work can be, especially covering editorial / press photography. Here is a story of a lady who lost a lot of weight after she dropped her diet of cheese excess! This appeared in the The Sun newspaper and was shot for Hotspot Media earlier this month.

 

Here’s an excerpt from the article, you can read the full article here >>> http://www.thesun.co.uk/sol/homepage/woman/6339545/Meet-woman-who-ate-EIGHT-stone-of-cheese-a-year-ballooning-to-28st.html

“NOTHING was more tempting for Rachel Margison, than a big block of cheese.

While many women fawn over chocolate bars or gooey caramel, her vice was a massive wedge of Cheddar, Edam or Red … Leicester.

In fact, she was scoffing an incredible 2.2lb of cheese a week — or 8st a year.

She would plaster it on toast, snack on it while watching TV and even sprinkle it on an already cheesy … phenomenal 15st 7lb.

Single Rachel, 32, says: “I couldn’t get enough cheese. My favourite snack was a big cheese sandwich. I’d scoff a massive block of Cheddar wedged between two thick slices of bread…”

 

If you need an editorial or press photographer, please get in touch. You can reach me on my mobile +44 (0) 7901 617571 or email on jp@jonathanpow.com

 

Hepworth Wakefield art gallery – Lynda Benglis

Another one for my press clippings section of my photography website. Work is diverse as a photographer, these clippings should show that! Especially with my regular mixing of editorial photography and commercial photography!

See and read the site in full on the following Hepworth Wakefield page – http://www.hepworthwakefield.org/whatson/lynda-benglis/

From for my archive of press clippings, you can also read the article, by clicking here

‘Her retrospective at the Hepworth Wakefield is a revelation.’ **** – Adrian Searle, The Guardian

‘Nothing is ever really as it seems: fanned metal seems weightless and fragile: enormous billowing piles of lead seem kinetic; and the artist herself seems to be constantly challenging us to create our own meanings regarding abstract forms.’ –It’s Nice That

EXHIBITION

The Hepworth Wakefield presents the UK’s first museum survey of work by Greek-American artist and feminist icon Lynda Benglis. This highly anticipated exhibition will be the largest presentation of Benglis’ work in the UK, featuring approximately 50 works that will span the entirety of her prolific career to date.

Aged 73, Benglis is one of America’s most significant living artists. Born in 1941 in Louisiana, USA, she was heralded as the ‘heir to Pollock’ by Life magazine in 1970, and emerged as part of a generation of artists forging new approaches to sculpture and painting in the wake of Abstract Expressionism, Minimalism and Pop Art.

Counting Andy Warhol, Sol LeWitt and Barnett Newman among her friends and peers, Benglis established her career within a male-dominated art world and became famous not only for her radical re-envisioning of sculpture and painting through her early works using wax and poured latex, but also for her works dealing with feminist politics and self-image.

BIOGRAPHY

Born in Lake Charles, Louisiana in 1941, Lynda Benglis moved to New York City in the late 1960s.  She now resides in New York and Santa Fe, Mexico and is the recipient of a Guggenheim Fellowship and two National Endowment for the Arts grants, among other commendations.  Her work is held in important public collections and has been exhibited at Tate Modern, The Museum of Modern Art and the Whitney Museum.  Benglis was the subject of a 2010-11 international retrospective that travelled to The Irish Museum of Modern Art, Dublin; The Van Abbemuseum, Eindhoven; Le Consortium, Dijon; New Museum, New York; and the Museum of Contemporary Art, Los Angeles.  Most recently, in early 2014, Benglis showcased a series of new ceramic works in a solo exhibition at Cheim & Read, New York and Thomas Dane Gallery, London.

JOIN IN THE CONVERSATION

Join in the conversation on Twitter, Facebook and Instagram using #LyndaBenglis.

Images: Lynda Benglis, Raptor, 1995 – 96 Stainless steel, wire mesh, silicone and bronze, Courtesy the artist and Cheim & Read; In the studio with Lynda Benglis & Pi, 2012. Photo Bryan Derballa; Lynda Benglis in Bowery studio. ca. 1981 Photo Credit: Hans Namuth; Lynda Benglis Untitled (Mean Green), 1992-94 ceramic.

Exhibition supported by Cheim & Read, The Henry Moore Foundation, Thomas Dane Gallery and the Lynda Benglis Exhibition Circle.

If you run an art gallery and would like to consider me for your next portrait, exhibition or gallery photographs, please get in touch. Either call on 07901 617571 or email me on jp@jonathanpow.com and I’ll be happy to discuss.

CreativeTourist.com – Lynda Benglis

Here’s a post to kick off a new section to my site, for press clippings, as previously they were thrown in with all the rest!

It’s great to see my art and exhibition photography on CreativeTourist‘s site. This of a portrait of ‘feminist icon and visionary American artist Lynda Benglis’.

Please, first go read the article on their site here, it’s full of upcoming events, interviews and other pieces in the world of arts here >>> http://www.creativetourist.com/articles/art/wakefield/lynda-benglis-at-hepworth-wakefield-sculpture-thats-hard-to-pin-up/

From for my archive of press clippings, you can also read the article, by clicking here

“Feminist icon and visionary American artist Lynda Benglis comes to the Hepworth. Here’s our preview of her defiant work.

Whether you think of it as art work or advertising, Lynda Benglis’Centrefold will get your attention. Just over 40 years since it was first printed in the pages of Artforum, this shot of Benglis – wearing only sunglasses, a lengthy dildo, heavy 70s tan lines and an “uh, what?” expression – is still arresting. Perhaps because, in the age of Tracey Emin and an artist-directed 50 Shades of Grey film, the negotiation between art and sex feels as pressing as it did four decades ago.

Benglis, with knowing irony, used her body to get noticed in a male-dominated field

Benglis’ mother apparently predicted that it was this shot her daughter would be remembered for. She was right – and wrong. Exploiting the boundaries between provocation (the artist paid for the page space in Artforum herself) and defiance, Benglis, with knowing irony, used her body to get noticed in a male-dominated field. Over subsequent years, the artist cemented her position as an important and difficult to pin down (or up), figure – as the Hepworth’s extensive new survey of her work demonstrates.

Featuring around 50 works spanning the entirety of her prolific career, this is the first major UK exhibition of Benglis’ work. Her more recent ceramic and polyurethane works have never before been exhibited publicly; they lend a first-look frisson to more iconic pieces, such as the polyurethane pour Night Sherbet A (1968). Like this dense, sensual piece, made from layered slicks of coloured plastic, much of Benglis’ work interrogates the division between painting and sculpture, with ‘fallen paintings’ such as Baby Contraband (1969) seeping across the floor.

This interest in form feels coherent with the image that brought Benglis notoriety: in Centrefold, she inhabits the realm of the female pin-up, but recruits a dominant, male stance – as well as a badassery all of her own – to subvert it. This exhibition at the Hepworth is a chance to redress the kind of residual imbalance that gave this photograph its power – and shift attention back to where it belongs.

If you run an art gallery and would like to consider me for your next portrait, exhibition or gallery photographs, please get in touch. Either call on 07901 617571 or email me on jp@jonathanpow.com and I’ll be happy to discuss.

Hepworth Wakefield by David Chipperfield architect

Exterior and interior architecture of the  stunning Hepworth Wakefield by architect David Chipperfield. The purpose built gallery was constructed in 2011.

Consisting of ten trapezoidal blocks, the gallery cost £35 million to build. A neo-brutalist aesthetic, the exterior of the building is clad with self-compacting pigmented concrete made on type (a first in the UK).

Inside, the upper galleries are lit naturally by large windows in the roof space.

The Hepworth Wakefield was named Regional Building of the Year 2012 by the Royal Institute of British Architects.

Chrichton Bespoke – Tailor & Shirtmakers , Chester

As a commercial photographer I like to think I’m always on the lookout for new opportunities, always with my eyes peeled for new locations to shoot in or new clients to work for. Sometimes, however, I’m caught by surprise… especially if I’m ‘in the zone’, in the middle of a shoot. Sometimes I think a bomb could go if and I wouldn’t notice!

Yesterday was a prime example of that. I was out shooting a test with the lovely Bexi Owen (a swinging singing showgirl) and I found a stunning red door. Not really thinking, I continued merrily shooting away. Then I realised what the door belonged to. A bespoke tailor.

Again, not really thinking, I carried on. Then, shortly after spotting someone in the side and smiling at them, the red door opened. It was one hell of a surprise.

Inside was this stunning place, Chrichton Bespoke, a tailor a shirtmakers in the heart of Chester. As you may already know, I’ve always had a penchant for working with British  manufacturers. I find it almost romantic, to think of age-old traditions remaining here in the UK, such as shirt making. And long may it continue and grow with new industry.

I work a lot for UK manufacturers, designers and retailers, employing either commercial photography or for PR photography.

We have so many wonderful manufacturers and businesses here in the UK, and to help sell it in the best way possible, many could reap the benefits from beautiful professional photography. Be it a clothing brands in Manchester needing fashion photography or even glamping businesses in Yorkshire needing beautiful lifestyle photography. Don’t let photography let your company down!

I hope to revisit Patrick in the not too distant future. Chrichton Bespoke would make a simply stunning location for future shoots, perfect to get the creative juices going! It’s a prime example of how, when we’re not looking, things can find us.

I hope you enjoy these photos, as much as I enjoyed visiting this place (albeit briefly!).

If you think you could employ my skills for something similar, either for commercial or editorial reasons, contact me on 07901 617571 or email jp@jonathanpow.com. If your photographic project is with anything like this gem, I’d certainly be happy to assist!

Leeds Trinity by architects Chapman Taylor

Leeds Trinity, by lead architects Chapman Taylor. The shopping centre which hosts over 120 stores opened in 2013

Harbourside Park II, 555 Jervis Street

View of Harbourside Park II, 555 Jervis Street. Created by Noel Developments Ltd in 1996 in the Coal Harbour area of Vancouver.