Special Effects -The Magic Lantern

Pure Photographic ‘Special Effects’ Without a Computer or a Darkroom!

by John Neville Cohen

Projected Images
The discovery of this technique was the result of an accident.  The chance projection of a slide without having the screen in place resulted in a portrait appearing partly on some fabric and partly on the wallpaper.  The curved fabric distorted the image and when the picture was clearly focused the weave and texture of the materials forming a type of screen became part of the portrait.  This result was sufficiently intriguing to leave the projection as it was and to study the possibilities of this occurrence.

If this effect could be photographed, then one can photograph projected images on other textures or even on other objects.  This proved to be the basic approach to gain full control of all images.  Providing a completely new way of superimposing and controlling every aspect of photographs.  Obviously if one can see it, one can photograph it!

The projector however offers so many more possibilities than the darkroom enlarger to create pictures. Take any image on any film; it is just as easy to project negatives or transparencies in colour or black and white on to what ever is desired.  Consider the potential when projecting an image on to; fabrics (not always flat), textures, or even on to other objects, then try bouncing the projected photograph off a reflective surface and focus it on to a screen, or have a look at what happens if a crystal is placed near to the projector lens (behind the lens as well as in front).  Colour filters can be used, or parts of the image can be masked (again compare the results obtained in front, as against behind, the projector lens).

With more than one projector it is possible to combine and superimpose with perfect control more than one image.  By projecting these images, one on top of the other, and then masking away the overlapping parts of each image, that are no longer required, a totally new picture can be formed.

These are the basic principles, which with infinite variety are used to mould, form and relate at will, all that has ever been photographed.  It is in fact the projector that provides all the magic; such is the diversity that can be achieved with it.  The older type of projectors are often of more use than the modern automatic ones, as it is then likely to be easier to gain access to the space behind the lens.  That facility is of great advantage with these techniques – so one should look out for cheap second hand ones!

Adding Texture
The easiest way to begin is to experiment with the projected image, try projecting a favourite portrait on to a selection of textured surfaces, to be used as a screen.  An enormous variety of textures are possible to use, they do not always need to be white, nor do they always need to be flat.

There is likely to be an element of distortion, as it is not possible to have the camera lens in exact alignment with the projector, but do not worry about this yet, distortion can be useful as described later.

The use of a texture in portrait work is particularly attractive, some of the beauty and character found in painted portraits is lacking in photographs.  But the realism of the photograph becomes more abstract simply by adding a texture and this can bring out more expression or character than was evident before.  This does not mean that one is copying paintings as totally different images are created from those ever painted, but that this abstract quality that so enriches portraits, can also apply to photographs.

Distortions
The only way of avoiding distortion is to project square on to the choice of screen and to rephotograph the image with a plate camera. Then one can correct the angle of view with the lens movements as used for architecture or perspective correction.

However, more often than not, distortion can be a very interesting effect if used carefully.  It can even be a very dramatic tool.  Any image can easily be elongated and stretched, or squashed and made wider.  It just depends on the angle of the projector, or the camera, to the screen.

Reflections
So far it has been shown how an image can be influenced by; the addition of a texture, the effect of distortion, the use of colour filtration, and the use of negatives or black and white films.

Another fascinating way of manipulating a projected image is to consider reflections.  The principle involved is basically to rephotograph a projected image as seen in a mirror, or bounced off a mirror. But instead of using a mirror, there are many other options.  Try a piece of acetate film as this material allows one to bend or twist it, and so distort the image seen, by forming a flexible mirror.

There are two quite different effects achievable even with the flexible mirror in a fixed position and the same image projected.  The first method is to project the image on to a screen and to photograph the reflection seen.  The other is to project the image into the flexible mirror, so that it bounces off it, on to the screen; it is this new image that is then to be photographed.

There are many reflecting surfaces that can be used.  They do not always need to be smooth, a highly polished old silver cigarette case, with a machine finished pattern as an over all design, has been used to advantage.

All photographs including those techniques already described can be made into patterns rather like a kaleidoscope by the use of mirrors.  By positioning mirrors at right angles to each other, with the image projected on to a choice of screen in such a way, that the reflections are repeated in the mirrors will then form a pattern that can be photographed.  The possibilities of scale and size are no problem when projecting images, the biggest building in the world can easily be projected between a couple of small mirrors or on to a small object!

Crystal Patterns
Spectacular patterns can be created by the use of crystals or prisms.  Apart from the special effect types available for use on the camera, remember these can be used with the projector too, it is also interesting to use old crystals designed to form a chandelier.

Experiment with different crystals placed in front of the projector lens, not always square on, and see how the image scatters according to the cut.  The best results are often found to be with a fairly small image within the transparency frame.

Quite a different pattern will be formed, by moving the crystal behind the lens.  Obviously as these crystals are not optically perfect, the projected image will lose some definition, but it can still be useful as a background image.

Colour, Black and White or Negative Images
Photography has the advantage of instantly reproducing an image in a number of ways.  Just by the selection of film the image can be in black and white, colour or in either of these choices it could also be in negative form.  All these can be projected!

Negatives can be unusually beautiful in themselves and they should not just be regarded as the means of obtaining a print.  The choice of projected images should not be restricted to transparencies but include film in all its forms.  Black and white images positives or negatives can be projected and used. Colour can still then easily be added to the black and white projected images by the choice of screen, as well as by the introduction of colour filters.

Filters
Many filters are available for the camera, and these can be used with the projector too.  But any bits of coloured cellophane can also be used with the projector.  There are hundreds of colours easily available, as one only needs such small pieces.

Even if they are not optically of use with the camera, if used between the projector condenser lens, and the film, they can influence the colour of the projected image, without any optical problems.  With care it is also possible to change the colours of specific parts of the projected image.

Make the Subject the Screen
It is not difficult to move on to other objects that can do more than just act as a screen.  These are items that become an important part of the subject of the new photograph just as essential as the projected image.

For example an original portrait was projected on to a clamshell, amongst other shells, and the contours of the shell influenced the projected image.  With careful masking using a diffused mask behind the lens, allowed light to illuminate other parts of the scene too.

There are a number of other objects that have been used in this way; a butterfly with a river scene, an orchid, a ball of wool and a Siamese cat, a coin, or a decaying holly leaf.

Even a highly reflective surface can be used such as coins.  The camera was directly in front of the top coin, so that the projected image from the projector was to the left of the camera.  This meant that the camera lens avoided the very bright reflection.  Even the edges of the pages of a book have been used.

It can be fascinating to take your projector for a walk!  Use an extension lead and just project a selection of slides on to everything in sight.  By focusing on to a wide range of objects, you will be able to see what happens – expect to be surprised at some of the possibilities that will no doubt come to light!

Masking
Masking is best achieved by using black card that is stiff enough to stay upright; yet is easily cut into whatever shape is required.  It works well in front or behind the projector lens.  If masking in front of the lens it will quickly become apparent that the nearer to the screen the mask is placed, the sharper the shadow cast.  The ideal is to always use a soft edge shadow so the mask will not be very far forward of the lens.

If it is possible to work behind the lens, then the nearer to the film, the sharper the shadows edge will be. It is then simple to perfectly blend different images when working with more than one projector.

There have been times when instead of masking with black card a transparent opaque plastic has been preferred, this avoids a black shadow forming, especially if the second projection is not adding much in that particular area.  Tracing paper has been effective for this purpose normally placed behind the lens near to the film.

Before considering a second projector, with just one, there are now an amazing amount of possibilities that can be achieved with the projected image.  However with two projectors the additional special effects are quite sensational.

Double Exposure – Projector Style!
The first option with the projector is to mount two pieces of film, sandwiched in the same mount, and project the combined images on to a screen.  By focusing on one of the images, the one in true focus will dominate and soften the other.  Much depends on the slide carrier used, but if there is room to insert more than two mounts in to the carrier, then the more space between the two films the greater the effect of one image dominating the other.  Should both images need to be in focus then the closer they are to each other the better.

When sandwiching films in this manner it is possible to insert one or the other upside down, on its side, or the other way round. But there is little more opportunity with this technique of controlling the end result, so it is only a little bit better than double exposure as at least one can see what the result looks like first.

Two Projectors
This method involves using two projectors, but one has then an exciting way of blending any two previously created pictures, with far more control!

The technique is simple; just project both images separately on to the same choice of screen.  However, these images can now be positioned whichever way one might wish, one image could be much larger than the other, or by masking parts of each image, a different blend of the two pictures can be created.  This is how any parts, of any picture, can be blended together and all the time one can see exactly what is to be photographed.

Ideally, two identical projectors should be used, if possible with zoom lenses.  Should this prove impractical then variations in performance of the second projector can be allowed for, by masking the brighter of the two, just in front of the lens to achieve the same brilliance from both projectors.

To enhance the quality of the results one can achieve with this technique, there is an advantage in obtaining a screen designed for rear projection.

Image Blending
Once the full potential of using two projectors is realised, there will be a need for quite different types of images, these are what are referred to as background shots, in the advertising world.  A completely new stock of photographs will have to be taken, with blending potential in mind, no matter how many pictures are available from the past.

Now each image can be simply modified: The brightness of one image, as against the other, can be controlled.  By masking and shading just parts, of each image, can be blended.  Colours of certain areas can be altered with filters.  The position of each image, relative to each other, can be adjusted.  Or even the size, of one image as against the other, can easily be altered.  One of the images could be distorted, reflected, or be changed in to a pattern by the use of a crystal.  The possibilities are quite staggering!

Best of all, the combined images are there to be seen all the time, until the desired result is formed. There is no need to rely on guesswork, as so many other special effects seem to demand, with these methods so no film really should ever be wasted.

With two projectors it becomes possible to mix film effects together in a way not possible before.  It is so easy to blend negative images with transparencies, in colour or black and white.  Instead of transparencies in both projectors, one of them could be projecting a black and white negative or a colour negative just as easily.

Plate 3
‘Spirit of Spring’ is a well-known award winning study that won much acclaim for the author.  This transparency of a portrait was projected over; a second projected colour negative image of a red tulip.  A variation of this concept is plate 59 (Poetic Portfolio) where another profile of Susan was blended with a colour negative of the centre of a tulip. (See this and other photos in the author’s ‘Poetic Portfolio’ link below).

More Projectors
There are no reasons why more than two images should not be projected all at once, providing the projectors are available.

There have been a number of occasions when four projectors were in use together.  However three have been the most that have normally been used, with the fourth one occasionally; simply projecting the author’s signature in to the scene.

Rear Projection
There are some valuable advantages in having a rear projection screen especially when owning more than one projector.  The first advantage that comes to mind, after the obvious one of avoiding distortion, with at least one of the images, is the opportunity to add a light coloured background when photographing projected images on to other objects.

Should the rear projection screen simply be used to provide a background scene, often expected to be in a softer focus, an expensive screen is then not needed.  Even tracing paper will do!

Inspired Accidents
Hoping that readers having reached this far will agree that the possibilities described, offer photographers working in colour so much more than simply recording reality.  Trusting readers will also agree that this form of photography really justifies recognition in the art world, as it has certain qualities that are quite unlike those of any other media.

This has been published with the hope that photographers will not just create strange pictures or gimmickry, but produce works of true artistic merit.

The most satisfying time spent is without doubt in the creation of the work.  Frequently regardless of the medium used, if an artist is truthful, the end result obtained is not always exactly as initially conceived.

Often the author has decided on a theme, or it could be just a thought about a pattern or composition that exists in the mind, in an abstract way, as yet unexpressed.  Perhaps the last portrait taken inspires the desire to do more with it.  Whilst considering and projecting certain images, to blend with such a portrait, something can suddenly be seen that fires the imagination.

At other times an idea occurs and a clearly defined image forms in the mind.  However, whilst trying to create this picture, it is not so unusual that one strays across a certain amount of accidental inspiration.  This can be the chance blending of two images in a way never thought of before, that looks just too good to ignore!  The best thing to do then is to be prepared to change direction, and pursue the new study, rather than the original concept.  The first attempted creation can always be tried again later on.

The excitement and pleasure one feels when inspired in this way is hard to describe.  So even if one starts with just a vague concept, it is worth spending some time experimenting.  Think of it as being the stage where the artist is selecting and mixing the paints on his palette, still unsure of what he might paint, but just feeling the need to make a start.  Whilst thinking of the various possibilities, surprising relationships can develop, that might well become the basis of the final picture.  It is only really by actually making a start that you create the opportunity for something exciting to happen.

John (now retired) was an international top award winning photographer that created new techniques of ‘special effects’ without any darkroom or computer!

“…regarded as one of Britain’s most original photographers.” The Times

“To Cohen, the impossible in colour merely takes a little longer…” Photography Year Book

To see the Poetic Portfolio please visit: – https://www.jncohen.net/photmagi/it020001.htm

To see other articles, with photographs, please use the following link:   https://www.jncohen.net/antiques/articles.htm   

John Neville Cohen:  Became a well known Asian antiques collector and an enthusiast of Jensen British classic cars.  He has been a very keen collector for many years in helping to create ‘The Cohen collection’.  Please have a look at: – https://www.jncohen.net   

An Amazing and Unique Kodachrome Transparency

By John Neville Cohen

‘Painting with light’ is a term often used by photographers. But John N. Cohen used his own invented form of ‘Painting with light’ (a very different and original ‘special effect’ technique), without any computer, to create his unique international award winning transparencies.

One of his top award winning pictures was titled ‘Spirit of Spring’, this was the first ever picture it was taken on Kodachrome (transparency film) that included both a negative of a tulip and a positive image of a girl’s portrait, all on the same emulsion!

No one knew at the time, how this could be possible as it was created well before anyone had the use of computers.

This technique is pure photography on film and has nothing to do with moving lights to make light graffiti, or of lighting specific parts of a dark scene with a long exposure. What it does involve is the photographing of projected images on to other things.

John’s free publication titled ‘The Magic Lantern’ fully describes this form of ‘Painting with Light’ and explains exactly how anyone can do it, without any computer, darkroom chemicals, or expensive equipment!

Digital camera users could also use many of his techniques, as these special effects have certain qualities that are a little different from those achievable by digital manipulation.

‘Spirit of Spring’ won The London Salon Trophy in 1967; this was then the first time a colour picture was deemed worthy of this much-coveted trophy, for it had only ever been awarded before for Black and White studies. John was also the youngest member to have won it.

There have been over 20 One-Man Exhibitions of John N. Cohen’s photography (many were sponsored by Kodak) at major venues; 2 were held in New York, 4 in London, The Edinburgh Festival and many other UK & USA Cities.

Favourable reviews and comments were received about John’s photography from; Cecil Beaton C.B.E., Sir William Russell Flint R.A., Lady Clementine Spencer-Churchill, Sir George F. Pollock Bt., M.A., F.R.P.S., F.R.S.A., ‘The Times’ and ‘Arts Review’ to name a few!

“I use pure photography to express ideas, or thoughts, rather than reality. I trust that my pictures will intrigue, cause interest and be appreciated as very original art works that make quite a statement!” 

John Neville Cohen International top award winning photographer and artist, has other interests too, please have a look at https://www.jncohen.net  

To see more of his new pictures please see https://www.jncohen.net/Painting-with-Light/index.htm

To see other articles, with photographs, please use the following link:  https://www.jncohen.net/antiques/articles.htm   

Digital Photography & Special Effects’ Yet Some Prefer to Use Film.

By John Neville Cohen

An international top award winning photographer who invented new ‘special effect’ techniques on Kodachrome, without any darkroom or computer!

I recently talked to a young man who I discovered was very interested in photography (he did not know anything about my own ‘Special Effect’ photography), and having told me that it was his main hobby, I was intrigued, and very surprised, when he explained that he far preferred to use film rather than digital imaging. Even though it is so difficult and expensive to buy film these days. I wrongly presumed he was referring to Black and White photography, but soon realised he was buying colour films.

All new cameras, even mobile phones, are digital. Also, there are only a few small laboratories that will process colour film, and home processing although possible, is not easy. Yet he told me there are groups of photographers, like him, preferring to use film and their numbers are growing.

I have looked on the Internet and there are indeed lots of discussions on the advantages, or disadvantages, of using film in comparison with digital.

The majority claim that in using film, because of the need to be far more selective (taking far less photographs due to the high costs), has trained them to become far better photographers.

Another claim was that good digital cameras are expensive and need to be replaced every four, or five years, as they are upgraded so frequently. Yet buying a second-hand film camera will be cheaper, last a lifetime and will hold its value, even though film cameras are far bulkier and heavier.

Lastly, old transparencies and negatives can, and will always be, easily viewed, but who knows, as digital technology changes so quickly, if it will be possible to view digital images in the future.

I was amazed to learn this, because of the incredible possibilities of digital photography, that now exist. The cameras not only make it easier to control the image and exposure, in so many ways, that were much more complicated before with film. There is the advantage of seeing the digital result immediately. But even after having taken the picture, with the aid of software, the options available now to manipulate digital photographs are just fantastic!

This made me reflect on why I had favoured using colour reversal film (for my own creative transparencies) rather than negative film in the 1960’s, before anyone had computers. I enjoyed most viewing the large projected image, far more than a print, even though there was no option to alter the picture once taken, yet I was using it for my own special effects. But having to wait at least a week, to see the transparencies, was frustrating. 

I preferred transparencies to negatives because I found it extremely hard to master colour printing, as an amateur, so I always relied on professional processing laboratories to make my prints.

My ‘Special Effects’ pictures were imaginative (nothing like the usual photographs) and I soon found that it was nearly impossible, when they made prints from my negatives, for them to know how to get the colour balance that I really wanted. The advantage of transparencies was that I could simply instruct them to match the colour balance of the transparency that they could see.

My favourite film was the Kodak ‘Kodachrome 25’ that sadly is no longer available. Transparencies were so much more vibrant than any of the prints and so I concentrated on what I could do with Kodachrome. By always using this film I soon got to know, how best to control it, even with my own ‘Special Effects’. 
 

‘Madam Butterfly’ This picture was originally a Kodachrome Transparency

These days I am excited by the digital option, rather than film. However, using my own invented ‘Painting with light’ technique that involves photographing projected images, I can create some effects that would be exceedingly difficult to achieve with digital software.

My own views have always been that the most important aspect of photography is the resulting picture, the composition, the quality and the choice of subject. Not the questions of the technique, or make of camera, lens used, or film etc. It is only the resulting picture that really matters; however, it was created!

Sea Shell created digitally with Photoshop

After so many years using film, I am now personally totally sold on the digital system, but should any readers be interested in seeing more of my special effects, achieved with my own ‘Painting with light’ technique, please do have a look at my website 

“…regarded as one of Britain’s most original photographers.”   The Times

“To Cohen, the impossible in colour merely takes a little longer…”  Photography Year Book

The limited editions (of only 8 of each picture) can be seen at: – 
https://www.artist-john-cohen.net/index.htm

John Neville Cohen has other interests too, please have a look at https://www.jncohen.net/homepage.htm

 
 
 

Which Contemporary Artist is Best to Buy and Most Likely to Increase in Value?

By John Neville Cohen

Considering buying a picture by a Contemporary artist and you want a far less expensive work than a Picasso, or an Andy Warholl, but let us admit you also want it to be a good investment. You really are hoping that your chosen artist might well be discovered big time and suddenly be worth many more times what you paid and preferably sooner than later! So what should you be looking for?

In times when currencies are at risk and the stock market fails to do well, the chances of success(by choosing the right artist) are far better than those with the Lottery!

By being careful about what you buy and in choosing the right artist, although there is always an element of risk, the chances of losing any value are minimal.

Whilst I am not making any claims to be any kind of expert, I have been a keen successful collector for many years of various art forms and antiques that have mostly increased greatly in value. I do hope that by sharing with you my instincts that these will prove to be of some help to you. Obviously, just in case the picture you end up choosing, doesn’t jump up tremendously in value, it is most important that you really like your choice, so that at least you will enjoy living with it.

Your choice of picture says something about you, so what sort of picture should you look for? Here are a couple of my suggestions of how to begin the selection process: –

• Firstly look for something artistic that you find attractive and beautiful, preferably a picture you feel sure your friends will admire and comment on.
• It is best to choose an inspiring picture, that makes a statement, or that has something fascinating about it.
• Then do some research on the artist.

Be very wary of all the hype, art critics and so-called experts who claim to know everything. These days you can search on the Internet and no longer be restricted to the local Galleries, you can search and find art from all over the world without leaving home. This means you can view the pictures you like and avoid all the sales talk. But how should you consider your choice of artist, if you want to have the best chance of your artist becoming suddenly famous and priceless? To have any such chance of succeeding your artist: –

• Needs to have developed a recognisable different style, or show exceptional original creativity.
• Should have already created a reasonable number of works that demonstrate a consistent style and originality.
• Should already have received some recognition, from having held several important one-man exhibitions and received already some worthwhile press, or write-ups.

In the past the artists that eventually become the most sought after, are those that created their own style, where they were the first to do something original, or different, and they made use of it consistently to best advantage. Some sadly, would also add choose someone old, rather than young, as so often artworks tend to be far more appreciated soon after the artist has died.

Of the painters, at the moment I am favouring Sir Bernard Fleetwood Walker R.A. because he has a style of his own that has not yet been fully appreciated. My personal view is Sir William Russell Flint R.A. painted wonderful watercolours and although they are already highly valued, I still think they will continue to increase in value.

I am not aware of any really great changes in painting that are sure of success. There are some who make use of spray paints and I have seen a few unusual textures where cement and sand have been used mixed with the paints. There are pictures created in three dimensions by layering cut out prints, stuck closely on top of each other, there are small boxed frames filled with carefully chosen objects as pictures, there are paintings embellished with Swarovski crystals, or small mirrors and other materials, also there have been mixed media pictures making use of all sorts of materials to form an image. But although different, I do not see many of these as ever being considered as great art works, it is really a matter of hunting for only the most exceptional examples, if any of these techniques appeal to you.

PHOTOGRAPHY
But the most dramatic and exciting changes have been with photography! Photography is now a valued art form, as are limited edition prints (providing the edition number is not too large – should be well under 20). So what is new?

Thanks to digital imaging there are now computer-generated pictures, such as ‘fractals’. But as the computer made them, rather than the artist, I doubt that they will ever be highly valued. With computer manipulation, mixed blended images that were never possible before, can now be created, these artists should be studied.

I have seen some graffiti light painting pictures that are rather different. The new computer HDR(high dynamic range) images that provide a much greater range of definition at different light intensity levels are also impressive and can be very atmospheric (far more so than ever before).

But what matters most is the end result; it is the picture that counts, the artistic vision is so much more important than the technique.

Having said that, certain photographic pictures could only be achieved because of the technique. As an example, there is a unique technique that involves photographing projected images that have been projected on to other objects. This has successfully been used to create some very interesting and quite different pictures.

I believe that if you follow my guidelines, you will find pictures worth buying that really could prove to be a great investment.

Good Luck with your hunt, hoping you enjoy the search and that you do find a winner.

The author has been a very keen Asian antique collector for many years helping to create ‘The Cohen Collection’ but he is also an artist.  For much more information with lots of photographs seehis limited editions of only 8 of each picture (up to 60” or 150cm longest side!) at: –
https://www.artist-john-cohen.net

You can also be kept informed on John N. Cohen’s ‘Painting with Light’ Facebook Fan page
http://en-gb.facebook.com/pages/Painting-With-Light/208903157734

Buying Affordable Contemporary Art, But Which Artist is Most Likely to Increase in Value?

Bz John Neville Cohen

If you are looking to buy a picture by a Contemporary artist, but want a less expensive work than a Picasso, or an Andy Warholl, yet at the same time you hope your chosen artist might well be discovered big time and prove that you made a great investment.

Then what should you be looking for?

Whilst I am not making any claims to be any kind of expert, I have been a keen collector for many years of various art forms and antiques (that mostly have increased greatly in value) and so I hope that sharing my instincts will be of some help to you.  Obviously, just in case the picture you end up choosing doesn’t jump up in value, it is most important that you really like your choice, as you will be living with it.

In times when currencies are at risk and the stock market fails to do well, the chances of success (by choosing the right artist) are far better than those with the Lottery!

Your choice of picture says something about you, so what sort of picture should you look for?   Here are a couple of suggestions of how to begin the selection process: –

• Look for something artistic that you find attractive and beautiful, preferably a picture you feel sure your friends will admire and comment on.
• It is best to choose an inspiring picture, that makes a statement, or that has something fascinating about it.

I suggest you be very wary of all the hype, art critics and so-called experts who claim to know everything.  So how should you consider your choice of artist, if you want to have the best chance of your artist becoming suddenly famous and priceless?   To have any such chance of succeeding your artist: –

• Needs to have developed a recognisable different style, or show exceptional original creativity.
• Should have already created a reasonable number of works that demonstrate consistent originality.
• Should already have received some recognition, from having held several important one-man exhibitions and received already some worthwhile press, or write-ups.

In the past the artists that eventually become the most sought after, are those that created their own style, where they were the first to do something original, or different, and they made use of it consistently to best advantage.

Of the painters, I am favouring Sir Bernard Fleetwood Walker R.A. because he has a style of his own that has not yet been fully appreciated.  My personal view is Sir William Russell Flint R.A. painted wonderful watercolours and although they are already highly valued, I still think they will continue to increase in value.

I am not aware of any really great changes in painting that are sure of success.   There are some who make use of spray paints and I have seen a few unusual textures where cement and sand have been used mixed with the paints.  There are pictures created in three dimensions by layering cut out prints, stuck closely on top of each other, there are small boxed frames filled with carefully chosen objects as pictures, there are paintings embellished with Swarovski crystals, or small mirrors and other materials, also there have been mixed media pictures making use of all sorts of materials to form an image.   But although different, I do not see many of these as ever being considered as great art works, it is really a matter of hunting for only the most exceptional examples, if any of these techniques appeal to you.

But the most dramatic and exciting changes have been with photography.  Photography is now a valued art form, as are limited edition prints (providing the edition number is not too large – should be well under 20). But what is new?

Thanks to digital imaging there are now computer-generated pictures, such as ‘fractals’.  But as the computer made them, rather than the artist, I doubt that they will ever be highly valued.  With computer manipulation, mixed blended images that were never possible before, can now be created.  These should be studied.

I have seen some graffiti light painting pictures that are rather different.  The new computer HDR (high dynamic range) images that provide a much greater range of definition at different light intensity levels are also impressive and can be very atmospheric.

But what matters most, is the end result, it is the picture that counts, far more than the technique!

Having said that, certain pictures could only be achieved because of the technique.  As an example, I would like to draw your attention to my own works John Neville Cohen (as I would prefer to sell my pictures, for good prices whilst I am still alive).  Many photographers have used the name ‘Painting with Light’ but the pictures I created by photographing projected images that have been projected on to other objects, are known more appropriately as ‘Painting with Light’.  Not yet fully appreciated, but this is one of the most interesting purely photographic techniques, that is unique.  I believe once seen you will agree that my pictures also meet all the criteria mentioned.

Good Luck with your hunt, hoping you find a winner.

The author has been a very keen Asian antique collector for many years helping to create ‘The Cohen Collection’ but he is also an artist.  For much more information with lots of photographs see his limited editions of only 8 of each picture (up to 60” or 150cm longest side!) at: – https://www.artist-john-cohen.net

You can also be kept informed on John N. Cohen’s ‘Painting with Light’ Facebook Fan page
http://en-gb.facebook.com/pages/Painting-With-Light/208903157734

Chains Carved Out of a Single Piece of Jade Rock – Chinese Jade Chain Vases

Bz John Neville Cohen

The Chinese have revered and carved Jade and Nephrite for generations, and still do.  The modern 20^th century carvers use all the latest machinery and technology to carve this very hard, brittle material.  But all of the antique jade carvings were lovingly made by hand and have been highly valued throughout the ages.

Personally, I far prefer the antique jade carvings (up to the first part of the 19^th century) as these were always carved from a single stone, with rather basic tools, and they often took a very long time to complete.  Yet, most of these carvings have qualities that are far more beautiful than the modern ones.  They managed to carve attractive bottles and vases that are wonderfully hollowed out, sometimes through such a small opening at the top, as is the case with Snuff Bottles, it is incredible how they have been made, so that even the shoulders of the bottles are finely hollowed.

What I also find fascinating are the amazing vases, with covers, which are connected by a chain, where everything has been carved out of just one stone!  I even know of some jade vases with covers that have a double chain attaching the lid to the vase on either side.

There are some where the cover is separate and the double chain is used to hang the vase from an elaborate, often pierced, carved jade hanger.

I have not found any reference on how jade chains are carved on the Internet, or anything about jade-chained vases so I decided to publish this article.  But I did find an interesting YouTube.com video, on how to carve chains from a single piece of wood (by searching YouTube for “wood carving chain”) and I presume this is how the chains would also have been carved in other materials, including jade.

But to consider how difficult it must be to conceive of carving a beautiful well proportioned (well hollowed out) vase, plus a perfectly fitting cover, with a long chain of evenly formed links, all to be carved out of a single jade boulder is something I find quite staggering!

Which brings me to the question of value.  For some reason, currently, Chinese jade-chained vases are not that highly valued, in monetary terms, compared with other antique jade carvings. This is because connoisseurs and antique jade collectors consider them, as nothing more than cabinet pieces, simply made for display rather than for use, and worse still they were only made for the export market!

I too, as a collector, tend to value more the Chinese carvings that were made for personal use; such as pendants, snuff bottles, water droppers, archer’s rings and handling pieces.  But as there are such an amazing amount of high quality skills involved, in carving these chained vases, I do feel that these lovely works of art should be far more highly appreciated. Fashions do exist in the collecting world and I am sure one day, these chained vases will be highly sought after.

    
The author has been a very keen collector for many years in helping to create ‘The Cohen Collection’.  https://www.jncohen.com

Facebook Fan Page for this author John Neville Cohen Fan Page

How and Why to Buy Art, Even if You Are Super Rich!

Bz John Neville Cohen

If you are one of the privileged few, who having been fortunate, now own at least two homes (one of them will be a large villa, or mansion), you have possibly paid a top architect and an interior designer, to create your palace, and your gardens are managed by specialist landscape gardeners and everything is beautiful – the rest of us can just dream on!

But how do you then go about adding your own personal statement to your magnificent home?  This is when works of art are considered, but even here you can call on the experts too and pay an art consultant, or specialist to guide you.  But eventually there will come a time when you will want to buy and display your own choice of picture.  What then are your main options?

Some people have chosen to buy the most expensive picture they can possibly find, simply to show off that they can afford it.  Just think of the new owner of ‘The Scream’ that was recently purchased for $119.9 million, as an example.  Was it bought because of loving it, or as an investment, or to demonstrate that the owner could afford it?  In the past so many enormously expensive contemporary pictures have never been resold, without making rather a big loss, so the investment angle seems unlikely.

Whatever is considered great in contemporary art is subject to change; it is only great at a particular time, mainly because the amount paid says that it is!  There are only a few names that have survived the test of time; such as Picasso, or Andy Warhol, but many others eventually simply fall by the wayside.

If you are not so inclined to simply buy the most expensive, you then have many other choices.  But the picture you choose will say something about you; so you should make sure it is one of the focal points of your home and given pride of place, as well as being something that you enjoy.

When thinking about the value of various artists’ works, many unknowns over time can suddenly become sought after, whilst others in big demand can go out of fashion.  So the best advice is to simply follow your heart – not your head, nor the experts.

Today you no longer need to rely on art galleries, trying to sell you what they consider are the finest ever.  With the Internet there are so many, from all over the world, art galleries to be found, allowing you to view at leisure, without having to bother with the sales pitch.  But more interestingly, there are now very original, excellent artists that now have their own sites.  Exploring and hunting Internationally is now a reality.

Beware of the experts, who make a living by convincing others that they know about art, even though they have never created anything themselves, as the art world is really such a very fickle business, mostly influenced by the amount of money paid.  They talk a lot and come up with various theories, all based on what has sold recently, mainly to maintain their own life style, but they also have no idea of what will be fashionable next.

Does it need to be an original painting, or could it be a limited edition print?  It has been said that limited edition prints are mainly for those with a lot more taste.  Today limited edition prints are highly respected, valued as highly as paintings, and often they have appreciated in value too.  So the choice is yours.

Should it be chosen simply because it is something beautiful, the right colour, something dramatic, classical, or should it be of flowers, a portrait, a scene, or an abstract?  How should you decide?

Well really no one can tell you!  You should simply choose what attracts you and only buy what you really like, or rely on your wife, husband, or partner.  Otherwise, if you dare not back your own judgement, pay the experts, but then is what you call home really your own?

The author has been a very keen Asian antique collector for many years helping to create ‘The Cohen Collection’ but he is also an artist.  For much more information with lots of photographs see https://www.jncohen.net

To keep informed please join John Neville Cohen’s Facebook Fan Page https://www.facebook.com/pages/John.Neville.Cohen

What is So Special About the Amazing Art of John Neville Cohen?

PLEASE NOTE: This is written in the third person, because I have compiled this from a number of previously published sources, so everything on this page has been written, or said, by someone else, but I did not want to include even more quotations, than I have already. JNC 

John Neville Cohen is really an artist who uses photography.  Photographer’s record reality and the best do that really well, but John creates amazing fantasy from reality!  His beautiful pictures surprise, intrigue and make quite a statement!

One of the essential differences between the artist and the photographer is that the artist always starts with a blank canvas, whereas the photographer’s canvas ‘the viewfinder’, or screen, is always full!

There are three reasons why John’s art is so special: –

• Firstly, he invented his own photographic ‘painting with light’ method (a very different and original ‘special effect’ pure photographic technique in the early 1960’s) without using any computer, darkroom chemicals, or expensive equipment, to create his unique top international award winning studies.  This enabled him to produce transparencies (mostly on Kodachrome) that amazed other photographers, Kodak and all the experts at the time, well before anyone had computers. 
  

• Secondly, his pictures are not simply the well composed flower, fruit, landscape, nude or portrait studies.  His pictures are so imaginative and once seen, form an impression not easily forgotten.  They have stood the test of time, since many of his most valued pictures were created over 50 years ago. 

• Thirdly, he has a unique vision and his own art style that everyone can easily understand, yet no one else creates fantasy visual art like his.
  

The first time ‘The London Salon Trophy’, a much-coveted International award for artistic photography had ever been awarded for a colour photograph ‘Spirit of Spring’ in 1967.  John was the not only the youngest salon member ever to have received it, but it was also the very first time a transparency and a negative appeared on the same film emulsion.  Although technically extraordinary, it is more importantly a very fine work of art. 

Spirit of Spring

Beauty is

John’s discovery was based on simply photographing projected images that were not always projected on to a screen and the chosen screen often became the subject of the picture; John has photographed projected images on to a feather, a flower, a shell, a butterfly wing, and even on to the edges of the pages of a book!

Madam Butterfly

Preacher

Montmartre

He built up a collection of around 75 studies that led to over 20 One-Man Exhibitions of his photographs (some sponsored by Kodak) in New York, London, The Edinburgh Festival and many other UK & USA Cities. At Photo Expo (famous photographers were lucky to have 3 pictures included at ‘Photo Expo 68’) a wall of over 60 pictures was devoted to John.

“..regarded as one of Britain’s most original photographers”  The Times.

“A woman’s face was exquisitely metamorphosed with the cup of a yellow tulip – a Femme – Fleur Picasso might have perpetrated had he taken to photography”  Arts Revue. 

A number of newspaper and photographic magazine articles were published and his art even attracted the attention of such famous names as Cecil Beaton C.B.E., Sir William Russell Flint R.A., Sir George F. Pollock Bt., M.A., and Lady Clementine Spencer Churchill amongst many others.

Flower Maiden

John has openly explained that he often starts with an idea and then experiments with various images, but sometimes something unforeseen happened, that sends him down a totally fresh route to create a very different picture than the one he originally planned, often it has been these ‘inspired accidents’ that have since turned out to be his most valued artworks.

Sea Nymph’s Mirror

John started promoting his high quality limited edition prints since he retired and in a relatively short period of time, he has acquired quite a following on LinkedIn, Facebook, and at various other art sites on the Internet, like Flickr, where so many have chosen his as ‘favourites’.

Recently a young art critic wrote “John N. Cohen’s artwork incorporates several genres–ready-made objects, digital photography and Impressionist style of light painting – to create a striking and surreal effect that has a strong impact upon the viewer”  Claudia Moscovici.

“Indeed, since the photographic image is made by the action of light, truth to light is truth to the medium of photography! All John Cohen’s photographs are made, simply and solely, by the use of light.  His magic is the magic of the luminous; his poetry is that of the chiaroscuro.  The attractions of his work is all the greater for the purity of the photographic technique, and its appeal all the more universal for being couched in an imagery common to all men and intelligible to all”.   Sir George F. Pollock Bt., M.A., F.R.P.S., F.R.S.A.

Roller

John is now over 70 and is still currently creating pictures (one of the latest is ‘Roller’).  His pictures certainly cause interest, adding a bright new dimension to any wall. So sophisticated, always a talking point, appealing to all age groups.

For serious art buyers and art lovers there are still some of the prints for sale. To buy an artwork by John, it is still possible to purchase a print, although they are limited to only 8 of each picture.  Not yet one of the big names, but these pictures have great investment potential and now is the best time for astute buyers to buy.

“Art Galleries refer to me as a photographer, but photographers refer to me as an Artist!” John Neville Cohen.

https://www.artist-john-cohen.net

‘Painting with Light’ by John Neville Cohen

All about the unique visual art form of ‘Painting with Light’ photography, invented by John Neville Cohen, that enabled him to win various top awards for his pictures and to have over 20 one-man important exhibitions of his artworks in the USA and UK. John has great artistic vision and in talking about his own art he describes how it was inspired accidents that led to the creation of his best limited edition prints. His art is for sale, for art buyers and serious art lovers. For those wishing to buy artwork by this artist, it is still possible to purchase a print at his website.

John is still currently creating new pictures “I use pure photography to express ideas, or thoughts, rather than reality. I trust that my pictures will intrigue, cause interest and be appreciated as very original art works that make quite a statement!”

His limited editions (of only 8 of each picture) can be seen at: – 
https://www.artist-john-cohen.net/index.htm

To see examples of John’s new images, in different colours, please have a look at: – 
https://www.artist-john-cohen.net/Consultants.htm 

Some of the Wealthiest Chinese are Now Investing in 18th Century Jade!

By John Neville Cohen

Jadeite and Nephrite (both referred to as jade) have been highly valued for thousands of years, especially by the Chinese.  But for so many years it has mostly been the Western world that took over this fascination of collecting antique jade carvings.  Here in Europe and the USA much has been published and there have been many dedicated collectors and antique jade experts that created and influenced the market values.

But recently the wealthy Chinese have become very interested in jade again, but so far they mainly regard jade as an investment commodity.  As most of the usual forms of investment, currencies and property have all proved so precarious, perhaps these successful millionaires are being very shrewd!  This is why prices have now changed beyond belief!

The European and American collectors have highly valued the craftsmanship of antique jade pieces, some 19th Century, but particularly from the 18th Century and earlier; much has been studied and published for the benefit of other collectors.

Apart from the quality of the carving and the period of the piece, when considering jade, there is another consideration that can add value, that being the colour of the stone.  Many people do not realise how many colours of jade there are.  Antique jade carvings can be found in white, mutton-fat, various shades of green, yellow and lilac, black, even in red, and these can be a factor in the price.  Also if there is a seal (so many wonderful pieces have no signature) but if the seal is genuine (many were inscribed later) then this too adds to the value.  So for a very long period these were the main criteria that influenced the price.

Gradually antique jade of quality, has become more and more valuable.  This caused the Chinese to cash in by making lots of new copies of earlier jade pieces and they carved various others in less valuable stones, but called them jade too! So many have flooded the market.  They have also discovered ways of adding colour to jade.  However, very few collectors found any difficulty in recognising these, as nothing more than the cheap fakes, or modern copies that they are.  To be sure that the colour has not been added requires strong magnification, so it is not that easy to check.  I believe that over time the dyed stones revert back to the original colour, so to pay extra for bright lavender, yellow or green jade could prove most painful!

Subsequently some of these modern fakes are so much better (the carving has improved) and there are now a number of more difficult to identify fakes.  So there has become another important factor that affects the value and this is the question of ‘Provenance’.  Every jade is now regarded with suspicion, unless it can be established as having been in a well known collection, or auction that dates back to the time when these fakes were easy to spot, or better still, to an even earlier period.

So this has been the way of things, for quite a number of years, whilst I was collecting.  But now values are changing dramatically in a way that is hard for the collectors like myself to understand!  These Chinese investors are buying back their heritage, but more as an investment than as collectors.  They have decided that 18th Century pieces of a pure colour with no flaws and certainly not mottled are their preference, they particularly prize pure bright white jade, or pure green, as well as the bright emerald green that is often used in jewellery.  Also any of these jade carvings that happen to have a good seal mark (even if this seal is not genuine) now command a much higher value.

Talking of a much higher value, this is where the older collectors are now really confounded.  Because if we consider a well carved, good quality pure white 18th century jade carving, that would normally have sold for our expected highest value, in any auction these days, this same piece will probably sell for anything from 4 to 8 times that figure, to a Chinese investor!  But a similar in quality piece, that includes a flaw in the stone (often these were brilliantly carved making clever use of any flaws) and valued just as highly by past collectors, or a similarly valued piece, but in a mottled colour, today will certainly not appeal to these Chinese investors and so will not sell for such a huge sum, making our sense of values hard for us to reconcile.

The hope is that in time the Chinese will recognise the same values, as us older collectors, also that they will become collectors rather than investors, but who knows?

The author has been a very keen collector for many years in helping to create ‘The Cohen Collection’.
https://www.jncohen.com

Facebook Fan Page for John-Neville-Cohen