Venice for photographers

Venice is a photographers paradise, the colours, textures, light and details, the main island presenting the most amazing range of subtle hues of terracottas.

The light will, of course, depend on the time of year and the weather, but I'm sure that whatever the conditions you will find your own palette of colour and hues. Even if it rains, take advantage of portraits with umbrellas and water on the pavement.

For me it was undoubtedly, all about blush pink.  I seemed to see it everywhere, the once orange tones of terracotta now decaying and fading into a paler shade, which produces this peachy tinted pink.

I haven't even touched on the history of Venice, so rich and elaborate for such a small place, you need to find your own interests here. Churches, architecture, printing, carnival, art, and food are here in abundance. For me though, it was all about exploring on foot and soaking up the exteriors.  This place typifies the concept of beauty in decay, and so for photographers who revel in the details and seek the imperfections, this is right up your street, or should I say, canal.

While most people will look for the classic shot of the Grand Canal, a sweep of buildings painted by Canaletto, gondolas punting mid stream, a photographer will also be absorbed by the minute details of creaky doors, ramshackle balconies, crumbling plaster and chipped paint. Here is is quite overwhelming.

For portraits there are brick walls and shutters as your backdrop, these can be as unique as the classic photo on a bridge.  In old Venice you will find all the subtle colours with the odd pops of rusty orange and yellow.  If bright bright is your thing then next week I will be showing the island of Burano, a complete contrast.

You could make a study here of so many different aspects, most notably reflections. My eyes seem to be drawn to shutters as I have a complete obsession with them. 

The earthy tones, so typical of Italy, are the perfect muse to the water, bringing the ying and yang into balance. On the side streets you will see so much of the brickwork exposed where the plaster is dropping off. You get the feeling that if you don't see it now then this place will soon just crumble into the water, there is little evidence of renovations.

The buildings are so huge that at times you will feel like you are in the land of the giants, particularly the facades of the churches, and as the streets are very narrow it is hard to get the right angle and distance from the subject without stepping back into a canal. 

With sunset coming before 5pm in January, you can witness some amazing skies so it's worth checking and planning so that you can be near a good location to capture this, I found a good vantage point to be the big wooden bridge which takes you over the Grand Canal on the way to the Guggenheim (ponte dell Acadamia).  So we planned to be at the Guggenheim for the afternoon so that we could catch the setting sun before we returned to our apartment.  

Once the sun has disappeared it is then the time to hop on a water bus and capture the Grand Canal at night, the reflections in the water silhouetting the boats is just pure magic. If you visit during winter you will want to stand on the open deck and this is pretty cold once the sun has gone, so scarfs round the face and gloves are a must.

My camera (Canon 5D MKIV) can handle night time shots without a tripod so it's possible to photograph in the dark when you are moving.  This won't be so easy for other cameras so if you are after night time shots, then you may want to take them when you are static and you can rest or support the camera on something so there is no shake during a longer exposure. As it's not very often that you find yourself in a situation where there are night scenes so breathtaking, then it's worth reading up on how to photograph at night for your equipment.

I hope my photos have helped you to soak up some of the atmosphere of Venice without focussing on the main attractions, and given you a small peak at some different elements.

Next week Burano ... it will be bright and most definitely for the colour lovers. 

Love as always, thanks for stopping by, Janice Issitt.  

September Sponsors #behomefree

Already the gallery for BeHomeFree is filling up for September over on instagram and I'm pleased to announce that this month there will again be a prize for the chosen photo.  Annie Sloan has donated a one litre tin of decorative Chalk Paint in the colour of your choice.

Colour inspiration comes from all around us which can be seen so perfectly in these inspiring photos.  As August drew to an end there was a flurry of last minute travel, myself included, before the Autumn sets in.  Right now we can see a mixture of summer and autumn hues as the season creeps up on us. 

I love to mix my own colours with Annie Sloan Chalk Paint, they are perfect for this, my palette at the moment features whites with tones of bleached driftwood, pops of pale pink and vibrant cranberry with some hints of cool aqua and french linen.  You can see mood boards over on my Pinterest page which also often leads you to the places where the pieces are sold.

Here are some of my photos from this last few weeks, and some from the #behomefree gallery to show how colours can sit together. If it works in nature it can work in your home.

I love the exuberance of these ladies, out there soaking up the last bit of summer ..

@_marzie @_scarlett.l @kayleighawright @_susandrea_

@_mandydearest @niki.at.the.cottage @rebecca.kathryn @frontfortyfarm

@melissacondotta @aplayfulday

Be Home Free definitely meant outdoors this last month but I feel we will probably soon turn to the cozy nooks, firesides and candlelit evenings.  Whatever it means to you please keep tagging and joining with the growing community of colour captures. If you get the chance please also let me know what colour you would choose from the Annie Sloan Chalk Paint range and what you would paint with it.

Winner will be announced at the end of the month.
Happy snapping.

Christmas colours of Sweden

Sweden is such a beautiful country, yes sure it has it's industrial areas and shopping malls like everywhere but the houses are such a multitude of traditional and unusual colour combinations and at this time of year, when everyone has lights in the windows and on the porches, it is picture book perfect. 

Maybe because the houses are mostly wooden cladded this has led to the whole house needing paint but the array of different colours used makes for the most beautiful look.  There is of course, the traditional red houses with white and yellow windows but look at the details and you will see that there are other things coming into play here. Usually choosing two tones but sometimes with another added for highlighting details like the window frames.

Not only are all the windows decorated with lights and Yul objects, but there is also the tradition of having a candle lit outside our door to welcome guests.  All the shop owners do this and it makes for the most magical look.  

We visited our favourite Christmas market in Sigtuna, this is such a gorgeous place, set on a lake and one of the oldest towns in Sweden. The market is a mixture of handicrafts and food.

If you are wondering what this is above, well meet Tomte a Swedish house gnome which also replaces Santa in some houses, the cute little fellow has been given a new twist here, depicting him in greenery. This Tomten lives in the forest and likes to be fed porridge!

My bag came home full, with a mixture of old and new. I found lovely knitwear in my favourite shop called Indiska. Lovely quality fairisle style cardigans and some cups from their new range. I also managed to pick up some Swedish made wool while we were in Sigtuna and intend to knit some Nordic mittens in black and white. 

No trip would be complete without a good rummage in second hand shops and a large haul of old cake tins and some mini candlesticks ticked off more on my wish list. These will all feature over on my Instagram feed over the course of this month. 

I do of course bring home many of ideas and inspiration for lights and candles, my home will feature the classic candleabra lights in the front window, stars and wreaths and decorations made from Pepparkakor (gingerbread) and folliage.   I hope these photos will help to get you in the mood too.  

Styling The Seasons with Annie Sloan Wall Paint

Last year I was a 'painter in residence' for the chalk paint by Annie Sloan, before being chosen I had been using it for some time on walls, despite the fact that it was originally intended for furniture. For me it was a welcome change to traditional emulsion paint, giving a velvety matt surface.  The lack of sheen on the surface gives the colour more depth which changes throughout the day depending on the light. 

This however is not for everyone and is probably not ideal for areas of high wear or where water might splash. So now to fill that gap, Annie Sloan has developed a specific wall paint and this week I got to try it out.

My studio has wooden 'tongue & groove' panel walls, so in actuality I was painting over a standard emulsion on wood. This made the roller slip a bit so there is some slight patching, this would only take a few minutes to rectify and was down to the roller and not the paint.

I'm so familiar with the original chalk paint I find normal major brand paints very weird. Firstly, emulsion wall paint is so thin and splattery, needing several coats very often and the cheaper the paint the worse it is.  Secondly with wood paint Im allergic to the fumes and this was the major reason I changed to chalk paint in the first place.

The colour I've used here is Versailles, but please don't take these photos as a good representation of it, I was shooting in quite strange light and depending on your computer screen settings, the colour will not be precise.  For a truer colour look at the Annie Sloan site  and get tester pots, paint large areas of the walls you want and see how it looks in situ. I have seen Versailles look quite yellow in some light but in my studio it is a pale coffee beige. I wanted a neutral that seemed quite seasonal, matching the tones of changing leaves in nature. 

So how is this paint in comparison? Well, firstly I was really surprised with how thick it is, it must be the thickest wall paint on the market.  This I think would be particularly useful if you are painting a light colour over a dark colour, on the last photo I painted over a very dark blue chalk paint on the chimney breast and it covered it just fine. Also as I was painting onto a wall there was no slipping with the roller so its incredibly flat there.

I used a very cheap and very rubbish roller to apply the paint, just to put it through its paces.  It went on the wall a treat and while it didn't look 'even' when wet, it dried all one colour. 

The paint has a very slight silk finish so is suitable for wiping down or splashes of water but still matt enough not to be shiny.  

  

You can see the range here.  The coverage was good for a thick paint too and so if you are using the furniture paint you can find a wall colour that will work with it as Annie's paints sit very well together and she gives excellent tips about which ones sit alongside each other. 

While I'm here I would like to say a thank you also to stockist Dawn at Halcyon Days in Rye who very kindly gave me a tester of the wall paint in Duck Egg Blue, which I've used in a few photos now. I wandered into her shop when on holiday this year and we spent lots of time there chatting and laughing, she has some great vintage items too. 

The wreath on the chimney breast is now on its third or fourth incarnation. It was the one that I was given when we went to the 'Styling Spring At Mine" workshop.  It is now resplendent with dry hydrangea heads and I expect will get a bit of ivy and maybe even some holly nearer to Christmas.   

This wall paint has given me the bug again, I'm thinking about some other lighter colours now the natural daylight is disappearing. Also time soon to dig out the furry rugs and woolen throws. I've already started to light fires as there is a distinct nip in the air, and yet there are still roses on the bushes outside so it's an odd time to be sure.

Janice. 

1960's to 1970's looks and vibes

Wake up, its the swinging sixties and the groovy seventies and ORANGE has arrived!

There's so much that could be said about these two decades but I'm here to talk about colour and interior ideas so I shall try not to get side tracked and wander off down memory lane.

In 1964 Habitat was born and this was to shape the style of our interiors and create trends and desires for objects that were new and cool. Conran bought us the Duvet, paper lantern lampshades, the wok and the chicken brick. Here in the UK we now had our own trend leaders; Mary Quant gave us legs with her hot pants and mini skirts, modeled by Twiggy, Vidal Sassoon supplied the wedge bob hair style and everyone wanted to drive around in a new Mini car. The Brits were fashion leaders with The Beatles flying the flag for Brit style.

The patterns in wallpapers and fabrics were verging on the psychedelic, large rounded motifs in shades of orange, yellow, mustard and brown. During the 60's the department store Heals were commissioning some iconic designers like Peter Hall and Barbara Brown to produce fabrics with big stylised shapes in rich deep teals and emeralds. But it was orange that really hit big and if you want to replicate this era then its an absolute must to include. 

Habitat, not surprising considering its history, still do the best hues of orange, mustard and green in paint to replicate the sixties to seventies time. And they also still sell beautiful lampshades made of paper and have even reintroduced the chicken brick.

Another great place for getting items that fit the look is IKEA. During the sixties and seventies we began to see Scandinavian influences appear more and more, these shapes can still be found at our favourite Swedish superstore who have built their name on affordable design, primarily using wood which is a large resource in Sweden.   

There were some other colours apart from orange and brown, a sage green, olive is the best description and it was frequently used in excess, almost in saturation in some homes. If you find yourself some vintage Hornsea ware (kitchen jars and cups) then these colours give you the right idea.

A few years ago a friend and I made-over a bachelor pad in north London. The flat was in a building that was a design icon, the architect being Peter Tabori and built in the early seventies. So taking that as an influence we wanted to bring a bit of cosy and warmth to the owners rooms, adding fur rugs, pampas grass and voile curtains in cream and brown, while keeping to the building's era.

As we move into the seventies things tone down a bit, the colours become more muted and a reaction to all the plastic was a fashion for more natural materials like wicker and rattan. Brown and corduroy on clothes and furniture and a back to the earth approach came along with lots of house plants. Hessian even featured as a wall covering, and it was murder to remove!

I've made a pinterest board that features both authentic photos and current products that will help you pull this fab look together (double click for the link direct to the product). Homebase stock Habitat paint and their products are all available on line, some of their furniture is influenced by 70's designs like the Tisno chair. 

Other touches that will help you create an authentic look would be to add macrame either in wall hangings or plant holders. House plants took a real upturn in the seventies, possibly because now the exotic was traveling across borders. Ferns hanging from macrame holders, large Swiss Cheese plants were all essentials in the homes of that era.

As I mentioned before, the seventies also had some revival styles happening, Art Nouveau became popular, with Mucha's ladies appearing on mirrors.  

I shall be back to normal next week with the Styling The Seasons and Urban Jungle Bloggers photos, have a lovely week and keep your fingers crossed for me in the Amara Interior Blog Awards. 

Peace.