3 4 3 ) % ( # !, %XHIBITION CATALOGUE INCLUDES AN INTERVIEW WITH THE PHOTOGRAPHERS
IMAGES FROM THE EXHIBITION AND POEM
#HRISTOPHE $ILLINGER .ICOLAS 'ONZALEZ #ATLIN (ARRISON -ARYSIA ,ACHOWICZ *O -ILLS $AVID 2ANN
Photographs by:
Edited by:
Catlin Harrison catlinharrison@london.com
Lisa Robertson editor@viewfinder.org.uk
Christophe Dillinger cdillinger@btinternet.com
Proof read by:
Jo Mills jo@gothiceye.co.uk
Anne-Marie Glasheen editor@viewfinder.org.uk Design by:
Marysia Lachowicz marysia.lachowicz@ btopenworld.com Nicolas Gonzalez nico.gonzalz@gmail.com David Rann davidrannphoto@gibblemail.com Interview by:
Mandana Ahmadvazir designer@viewfinder.org.uk Also available as a colour, e-publication: www.viewfinder.org.uk/shop Published by:
Eloise Donnelly eloisedonnelly@gmail.com
Viewfinder Photography Gallery Linear House, Peyton Place, off Royal Hill, Greenwich, London SE10 8RS
Curated by:
www.viewfinder.org.uk
Louise Forrester louise@viewfinder.org.uk
First published May 2010
Poem by: Elizabeth Gowing elizabethgowing@hotmail.com
Š The artists and authors. The views expressed in this publication are not necessarily the views of the publisher or the editors.
)NTERVIEW WITH #ATLIN (ARRISON #( #HRISTOPHE $ILLINGER #$ -ARYSIA ,ACHOWICZ -, .ICOLAS 'ONZALEZ .' *O -ILLS *- o (OW DID YOU üRST COME TO EXPLORE AND DEVELOP YOUR PRACTICE OF $AVID 2ANN $2 THE TECHNIQUES USED IN THIS PROJECT BY %LOISE $ONNELLY
#$ ) THINK ) QUICKLY GOT TIRED OF TRYING TO DEPICT REALITY VIA PHOTOGRAPHY %VERYTHING WAS SO SHARP AND EXACT AND ULTIMATELY
BORING AND LIMITED *- !S AN ARTIST ) TEND TO EXPERIMENT WITH A RANGE OF PROCESSES AND MEDIUMS AND THIS WAS PART OF MY EXPLORATION OF THE PHOTOGRAPHIC MEDIUM USING OLD CAMERAS CREATING ONES FROM EVERYDAY OBJECTS AND MANIPULATING IMAGES #( ) LEARNT DARKROOM TECHNIQUES ON A "4%# &OUNDATION COURSE
AND TOGETHER WITH DIGITAL SCANNERS ) REALISED THE POSSIBILITIES OF PAINTING WITH LIGHT AND MAKING IMAGES WITHOUT USING A CAMERA .' ) STARTED TO SCRATCH SOME PHOTOGRAPHS ) WAS FASCINATED BY THE MOVEMENT CREATED FROM THE LINES ALL OVER THE PHOTOGRAPHS AND THE FEELING OF IT ) DECIDED TO TAKE THIS FURTHER AND ) CAME TO EXPLORE LONG EXPOSURES ) WAS NO LONGER SCRATCHING MY PRINTED PHOTOGRAPHS WITH A NAIL ) WAS DOING IT IN REAL SPACE WITH LIGHT TORCHES $2 ) TRIED 'UM "ICHROMATE AND #YANOTYPES AT UNI AND INSTANTLY FELL IN LOVE WITH THEM ) THINK ITlS THE UNPREDICTABILITY AND UNIQUENESS OF EACH PRINT THAT APPEALS TO ME MOST -, ) STARTED EXPERIMENTING WITH MANIPULATING IMAGES WHEN ) WAS STUDYING FOR MY DEGREE IN PHOTOGRAPHY BACK IN THE S ) WAS ADDICTED TO BLUE TONE BUT ALSO USED OTHER TONERS AND STAINING AND PLAYED AROUND WITH CHEMICALS IN THE DARKROOM 4HIS WAS REALLY BEFORE ) DISCOVERED ALL THE EARLY TECHNIQUES ! FEW YEARS AFTER )lD üNISHED MY DEGREE ) TOOK SOME SHORT COURSES IN ALTERNATIVE TECHNIQUES INCLUDING SALTS BROMOILS PHOTO ETCHING AND PHOTOGRAVURES
o (AS YOUR WORK AND CHOICE OF TECHNIQUE BEEN INČUENCED BY ANY INDIVIDUAL PHOTOGRAPHERS #$ .O ) DONlT THINK IT HAS ) WAS MORE INČUENCED BY PAINTERS SUCH AS *OHN 6IRTUE AND &RANZ +LINE *- ) AM INČUENCED BY ARTISTS WHO REVEAL THE BEAUTY IN EVERYDAY SCENES SUCH AS %UGENE !TGET AND 5TA "ARTH ) ALSO DRAW INČUENCE FROM THE PHOTOGRAPHY AND ART OF THE SURREALIST MOVEMENT CREATING OBJECTS AND SCENES WHICH SIT BETWEEN THE REAL AND UNREAL AND INVITE
THE SPECTATOR TO EXPLORE THEM FURTHER #( (ANS "ELLMER S $OLL WORK HAS BEEN VERY INČUENTIAL .' 4HERE ARE MANY BUT THE MOST SIGNIüCANT TO ME IS THE WORK OF $RYDEN 'OODWIN
$2 .OT REALLY /R AT LEAST NOT CONSCIOUSLY -, "OOKS MORE THAN INDIVIDUAL PHOTOGRAPHERS 4HE +EEPERS OF ,IGHT IS THE MAIN ONE 4HE SHORT COURSE TUTOR 2ANDALL 7EBB WAS ALSO A HUGE INČUENCE (E CO WROTE 3PIRITS OF 3ALTS WITH -ARTIN 2EED WHO RUNS 3ILVERPRINT p THE PLACE TO GO FOR ALL THE CHEMICALS FOR THESE PROCESSES 2ANDALL IS INCREDIBLY KNOWLEDGEABLE AND HIS ENTHUSIASM FOR THE SUBJECT CERTAINLY INSPIRED ME o )S THERE A PARTICULAR RELATIONSHIP BETWEEN THE SUBJECT OF YOUR PHOTOGRAPHS AND THE PROCESSES YOU USE #$ .OT REALLY NO ) USE WHATEVER IS AVAILABLE ) JUST MAKE SURE IT IS FAIRLY CENTRAL IN THE COMPOSITION 4HE TECHNIQUE WORKS WITH LANDSCAPES STILL LIFE CLASSICAL PORTRAITS ETC ) AM GOING TO TRY IT ON NUDE STUDIES SOON /N THE OTHER HAND ) DOUBT IT WOULD WORK WITH A SPORTS SHOT OR STRAIGHT DOCUMENTARY PHOTOGRAPHY *- .OT REALLY ) TEND TO PHOTOGRAPH THINGS FAIRLY SPONTANEOUSLY
AND SOMETIMES WITHOUT KNOWING EXACTLY WHAT THE IMAGE WILL LOOK LIKE WHEN IT IS PROCESSED FOR EXAMPLE USING THE (OLGA OR THE PINHOLE CAMERA )T IS A BALANCE BETWEEN WHAT ) SEE AND WHAT EQUIPMENT ) HAVE TO HAND AT THE TIME #( 9ES HOPEFULLY AN INEXTRICABLE ONE THE MARRIAGE OF FORM AND CONTENT HAS ALWAYS BEEN MY GOAL ) MADE PHOTOGRAMS FOR YEARS JUST AS AN EXPERIMENT BEFORE ) GOT AN IDEA FOR A PIECE OF WORK USING THIS PROCESS .' 9ES ) AM USING A BODY OF PHOTOGRAPHS ) TOOK IN A ROAD TRIP TO THE DESERT OF !TACAMA ) WAS VERY INTERESTED IN PORTRAYING THE PHYSIOGNOMY OF PEOPLE AND THEIR PLACES ) SEE PEOPLE S FACES AS A CANVAS ON WHICH THE PRINT OF LIFE AND TIME EMERGES ) THOUGHT IT WAS A GOOD CONTEXT TO START EXPLORING MY TECHNIQUE ,IGHT -OVEMENT AND TIME $2 ) WOULD SAY SO YES -Y SUBJECTS TEND TO BE QUITE TEXTURAL AND OR NATURAL AND THESE PROCESSES SEEM TO ACCENTUATE THAT -, 4HESE EARLY TECHNIQUES OFTEN INVOKE A SENSE OF HISTORY AND THATlS WHAT ) HOPED TO ACHIEVE WITH THE PHOTOS OF THE %AST .EUK üSHING VILLAGES 4HE LIFE IN THESE VILLAGES IS CHANGING AND FOR MANY PEOPLE üSHING IS NO LONGER THEIR PRIME INCOME ) WANTED TO CAPTURE A SENSE OF THEIR PAST &OR THE BEACH SCENES ) THINK THE LIQUID EMULSIONS ADD A MORE ČUID AND TACTILE FEEL THAN TRADITIONAL B W PRINTS EACH IS UNIQUE JUST AS EACH MOMENT THAT THE WAVES COME IN THE BEACH CHANGES
o (OW DO THE TECHNIQUES YOU HAVE USED IMPACT ON THE VIEWERlS READING OF THE üNAL IMAGE #$ 3OME PEOPLE CANNOT CONNECT AT ALL WITH THIS TYPE OF PHOTOS 4HEY SEEM TO BE SUFFERING FROM BLUROPHOBIA ) GUESS YOU NEED TO BE ABLE TO CONSIDER PHOTOGRAPHY AS A üNE ART MEDIUM THAT DOESNlT ALWAYS NEED TO REPRESENT REALITY FAITHFULLY 3OME VIEWERS ON THE OTHER HAND ARE TRANSPORTED 4HEY APPRECIATE THE DREAM LIKE QUALITY OF THE IMAGERY ITS POETRY AND SUBTLETY *- 3OME CAMERAS FOR EXAMPLE THE (OLGA AND THE PINHOLE CREATE AN IMAGE THAT IS QUITE ETHEREAL AND OUT OF FOCUS WHICH MAY MAKE THE VIEWER IDENTIFY WITH THE DREAM STATE THAT ) OFTEN WORK WITH /THERS
SUCH AS WHERE ) HAVE ALTERED THE COLOURS OF THE IMAGE TO EMPHASISE THE FORM AND TEXTURE OF THE SUBJECT MAY ENCOURAGE THE VIEWER TO SEEK OUT THE BEAUTY IN THE MOST MUNDANE EVERYDAY SITUATIONS #( ) HOPE THAT VIEWERS WILL BE REMINDED OF THE EARLY DAYS OF PHOTOGRAPHY AND THE NOSTALGIA THIS EVOKES 4O SEE A PICTURE FORMING IN THE RED SEMI DARKNESS OF THE DARKROOM IS MAGICAL AND ) WOULD BE DELIGHTED IF EVEN A FAINT SENSE OF THAT EXPERIENCE COMES ACROSS IN THE WORK .' !S ) AM REGISTERING THE MOVEMENT OF LIGHT ON THE NEGATIVE
THE VIEWER WILL BE ABLE TO SEE THE SPEED INTENSITY SEQUENCE AND STRENGTH OF THE TRACE OF THE LIGHT ON THE üLM $2 (OPEFULLY IT JUST TAKES THE VIEWER ONE STEP FURTHER AWAY FROM THE REALITY OF THE SUBJECT ) DONlT ATTEMPT TO MAKE HIGH RESOLUTION PRINTS ) PREFER THE PROCESS TO MAKE THE DETAILS HARDER TO READ IF ANYTHING -, 7HEN )lVE SHOWN THESE IN THE PAST THEY SEEM TO HAVE CONFUSED PEOPLE 4HOSE WHO ARE NEW TO THE TECHNIQUES GET CAUGHT UP ON WHAT IT IS p A PAINTING A DRAWING AN ETCHING )NTERESTINGLY NEVER DO THEY THINK IT S A PHOTOGRAPH ) HOPE THEY ENJOY THE IMAGES FOR THEMSELVES o $ID YOU ENCOUNTER ANY PRACTICAL CHALLENGES AS A RESULT OF YOUR CHOICE OF TECHNIQUE #$ /H MY YES ) BROKE QUITE A FEW ROLLS OF üLM INDEED ALTHOUGH SO FAR TOUCH WOOD ) HAVENlT BROKEN A CAMERA YET 4RYING TO GUESS THE CORRECT EXPOSURE THROUGH DIFFERENT PAPER CAN ALSO BE QUITE FUN !ND OF COURSE ) HAVE TO PROCESS THE üLM MYSELF PARTICLES OF PIGMENTS
PAINT AND GLUE USUALLY STICK TO THE üLM AND RUIN THE CHEMICAL BATHS 0ROCESSING LABS CANlT REALLY HANDLE WHAT ) DO WITH THE üLM *- .O (OWEVER ) WAS GRATEFUL TO THE UNIVERSITY WHERE ) WORK FOR ALLOWING ME TO TAKE PART IN WORKSHOPS ON ALTERNATIVE PHOTOGRAPHIC PROCESSES AND TO USE THEIR FACILITIES WHICH HAS HELPED ENORMOUSLY IN THE CREATION OF THE PINHOLE IMAGES
#( 5NPREDICTABILITY IS A FEATURE OF THIS METHOD COMPOSITION CAN BE CHALLENGING WHEN USING OBJECTS ON PAPER
.' 9ES ) HAVE FOUND MANY &OR INSTANCE WITH CONTROL OVER THE LONG EXPOSURES 2EPEATED MOVEMENTS OF THE LIGHT BURNS THE üLM IN AREAS ) DON T WANT TO AS ) CAN T SEE )T S VERY DIFüCULT TO CONTROL THIS 3OMETIMES ) LIKE THE RESULTING IMAGES A LOT BUT ) WOULD PREFER TO BE ABLE TO CONTROL IT ) AM CHALLENGING MY ABILITY TO RETAIN A MENTAL IMAGE OF WHAT ) AM DOING ) AM TRYING TO RETAIN EVERY TRACE WHETHER SHORT LONG SLOW OR FAST IN ORDER TO BE ABLE TO SEE BEFORE PROCESSING THE üLM WHAT ) HAVE BEEN WORKING ON -Y MAXIMUM TIME OF FOCUS AND CONCENTRATION IS ABOUT SECONDS AND MY WORK IT EXTENDS FOR UP TO HOURS !NOTHER TECHNICAL CHALLENGE IS COLOUR BUT SLOWLY ) AM MAKING PROGRESS .OW ) AM üNDING A WAY TO PRODUCE TONAL RANGE AND DEPTH ) AM STILL WORKING ON THIS BUT IT IS DEüNITELY A CHALLENGE ) FORGOT TO SAY THAT ) WORK IN COMPLETE DARKNESS ) CAN T SEE MUCH JUST THE LITTLE LIGHT IN MOVEMENT $2 4HERE ARE ALWAYS CHALLENGES USING THESE TECHNIQUES AS EVERYTHING FROM THE EXPOSURE TO THE AGE AND TYPE OF THE mINGREDIENTSn USED CAN AFFECT THE üNAL IMAGE /NE OF MY MAJOR CHALLENGES IS USUALLY CHOOSING ONE IMAGE OVER ANOTHER -, 4HE MAIN CHALLENGE FOR ME ALWAYS IS GETTING THE RIGHT DENSITY OF NEGATIVE FOR EACH TECHNIQUE AND OF COURSE WAITING FOR THE SUN TO SHINE ) DO USE A 56 LAMP IF ) HAVE TO BUT ) PREFER USING SUNLIGHT WHEN ) CAN o (OW HAS YOUR KNOWLEDGE AND USE OF DIGITAL MANIPULATION SOFTWARE AFFECTED YOUR PRACTICE OF TRADITIONAL PHOTOGRAPHIC TECHNIQUES #$ ) DO NOT USE DIGITAL MANIPULATION IN ANY OF MY PHOTOGRAPHIC WORK ) USED TO TEACH 0HOTOSHOP CLASSES THOUGH SO ) COULD IF ) WANTED BUT ) DECIDED NOT TO ) ONLY USE SOFTWARE TO SCAN THE IMAGE AND CORRECT THE COLOURS FROM SAID SCANS ) ALSO CLEAN UP THE BITS OF ČUFF AND DUST ) GET WHEN SCANNING ) USE A CHEAP AND CHEERFUL HOME SCANNER *- )T HAS HELPED ME TO EXPLORE AND EXPLOIT THE LIMITATIONS AND POSSIBILITIES OF THESE TECHNIQUES USING IN CAMERA METHODS SUCH AS DOUBLE EXPOSURES MOTION BLUR SOFT FOCUS AND DISTORTIONS #( ) HAVE TO THINK HARDER ABOUT WHAT METHOD IS APPROPRIATE FOR A PARTICULAR SUBJECT MORE CHOICE MEANS TOUGHER DECISIONS FEWER IDEAS GET REALISED .' ) WOULDN T KNOW WHAT TO SAY AS ) DON T WORK DIGITALLY $2 )F ) DIDNlT INCORPORATE DIGITAL TECHNOLOGY ANYWHERE IN MY PROCESS ) WOULD BE LIMITED BY THE PHYSICAL SIZE OF THE NEGATIVES ) COULD MAKE p SO MY IMAGES WOULD BE NO BIGGER THAN n X n 5SING A DIGITAL IMAGE AS A STARTING POINT ENABLES ME TO CREATE LARGER
NEGATIVES UP TO ! SIZE AND THIS ULTIMATELY MEANS UP TO ! SIZED PRINTS -, 4HE NEGATIVE JUST LIKE THE DIGITAL üLE IS JUST THE BEGINNING 4HE DIVERSITY OF WHAT YOU CAN PRODUCE DEPENDS ON YOUR CREATIVITY ) THINK THE MAIN CHANGE HAS BEEN THAT ) CAN PRODUCE NEGATIVES FROM DIGITAL üLES THAT ) CAN THEN USE FOR THESE TECHNIQUES "UT ACTUALLY ALL THE IMAGES IN THE EXHIBITION WERE SHOT ON üLM
o $O YOU FEEL THERE HAS BEEN A RENEWED INTEREST IN TRADITIONAL AND ALTERNATIVE PHOTOGRAPHIC PROCESSES NOW THAT DIGITAL IMAGES ARE SEEN AS THE NORM #$ $EüNITELY SO YES ) GUESS IT IS FAIR TO SAY THAT STRAIGHTFORWARD üLM PHOTOGRAPHY LET ALONE WEIRD EXPERIMENTAL üLM PHOTOGRAPHY
HAS BECOME AN ALTERNATIVE PROCESS 7ORKING WITH üLM IS ALREADY A STATEMENT OF ARTISTIC INTENT )T COULD BE THAT PEOPLE ARE FED UP OF EVERYTHING BEING SHARP AND IN FOCUS IN THEIR LIVES 4HERE IS A CERTAIN NOSTALGIA FOR THE TIME WHEN PHOTOGRAPHY WAS SLOWER AND MORE MEANINGFUL ESPECIALLY FOR YOUNG PEOPLE ) THINK THERE IS AN ELEMENT OF EXPECTATION WHEN YOU HAVE TO WAIT FOR A üLM TO BE PROCESSED AND PRINTED THAT DOESNlT EXIST WITH DIGITAL CAMERAS AND THAT IS MISSING FROM THE DIGITAL PHOTOGRAPHIC EXPERIENCE *- ) THINK THERE HAS ALWAYS BEEN AN INTEREST 7EBSITES SUCH AS WWW LOMOGRAPHY COM AND WWW ALTERNATIVEPHOTOGRAPHY COM ENABLE ARTISTS TO SHARE INFORMATION AND DEVELOP A SENSE OF COMMUNITY #( 9ES WHICH ) ALSO THINK REČECTS THE GRADUAL RETURN OF SKILLED LABOUR IN THE üNE ARTS .' 9ES DEüNITELY $2 )lM NOT SURE IF THE INTEREST EVER WENT AWAY BUT ) DO THINK THAT AS STUDENTS ESPECIALLY WORK LESS AND LESS WITH TRADITIONAL DARKROOM TECHNIQUES THE HISTORICAL PROCESSES OFFER A RELATIVELY LOW TECH WAY TO EXPERIENCE THE PURE CREATIVE BUZZ YOU GET FROM SEEING AN IMAGE ALL THE WAY THROUGH FROM CAMERA TO PRINT -, ) DO THINK THERElS INTEREST AND ) THINK ITlS IMPORTANT TO KEEP THE HISTORY OF PHOTOGRAPHY ALIVE EITHER BY USING THESE TECHNIQUES FOR THEMSELVES OR BY COMBINING THEM WITH DIGITAL TECHNIQUES 4O ME ITlS ALL ONE AND YOU USE WHICHEVER PROCESS IS MOST APPROPRIATE 4HERElS ALSO SOMETHING VERY MAGICAL ABOUT THE DARKROOM PROCESS WHICH ) STILL LOVE )lVE RECENTLY SET UP A DARKROOM IN A LOCAL SECONDARY SCHOOL 0ENDRAGON AND THE KIDS ENJOY SEEING THEIR IMAGES EMERGE 4HEYlVE ALSO MADE THEIR OWN PINHOLE CAMERAS ) DONlT THINK THEY REALIZE QUITE HOW MUCH THEYlRE LEARNING THAT SUPPORTS THEIR SCIENCE MATHS ART AND DESIGN TECHNOLOGY CURRICULA p THEY THINK THEYlRE JUST HAVING FUN
o $ID YOUR UNDERSTANDING OF THE RELATIONSHIP BETWEEN PHOTOGRAPHY AND OTHER MEDIA CHANGE AS THE PROJECTS PROGRESSED #$ ) THINK IT HAS YES ) HAVE BEEN DOING MORE DRAWINGS FOR INSTANCE AND ) HAVE REDISCOVERED TRADITIONAL MARK MAKING TECHNIQUES SUCH AS RUBBING AND THINGS ) HADNlT DONE FOR A WHILE STUFF THAT üTS IN WITH MY PHOTOGRAPHIC PRACTICE PERFECTLY
*- 4HROUGH WORKING ON THESE IMAGES AND ALSO STUDYING FOR MY -ASTERS DEGREE ) HAVE BEEN ABLE TO EXPLORE A WIDE RANGE OF USES OF THE PHOTOGRAPHIC IMAGE üLM PROJECTIONS INSTALLATIONS AND CREATING WORK FOR DISPLAY IN VIRTUAL ENVIRONMENTS SUCH AS 3ECOND ,IFE #( ) REALISED THE FULL EXTENT OF THE TYRANNY OF THE LENS $AVID (OCKNEY AND ITS DOMINANCE OVER OTHER MEDIA AND HOW LIBERATING IT IS NOT TO USE ONE .' ) AM VERY OPEN TO ACCEPTING AS A PHOTOGRAPHIC IMAGE EVERY IMAGE THAT IS CREATED BY A PROCESS OF PHOTOGRAPHY !LTHOUGH WITH EVERY INTENTIONAL INTERVENTION OR ALTERATION OF A PHOTOGRAPHED IMAGE p LET S SAY REALITY LET S SAY AN OBSERVATION A THOUGHT OR AN EMOTION p IT IS NO LONGER PHOTOGRAPHY BUT SOMETHING ON ITS OWN OR MIXED MEDIA $2 0ERHAPS A LITTLE ) HAVE EXPERIMENTED WITH COMBINING MEDIA TO GET THE RESULTS ) WANT -, )lVE NEVER SEEN PHOTOGRAPHY AS A LONE PURE DISCIPLINE 4O ME ITlS ALWAYS BEEN PART OF A CREATIVE PROCESS THAT MAY OR MAY NOT COMBINE WITH OTHER ART FORMS o 4O WHAT EXTENT DOES THE üNAL IMAGE AS A RESULT OF THE USE OF AN ALTERNATIVE PROCESS DIFFER FROM THE IMAGE YOU ORIGINALLY SET OUT TO CREATE #$ %R COMPLETELY ) MEAN ) HAVE NO IDEA WHAT THE üNAL IMAGE WILL ACTUALLY LOOK LIKE TO BE HONEST ) USE PAINTED PAPER ON EXPIRED üLM
) CROSS PROCESS ) WORK WITH ČASH BULBS -Y EXPOSURE METERING IS APPROXIMATE THE CAMERAS ) USE ARE UP TO YEARS OLD AND THE VERY NATURE OF MY TECHNIQUE RELIES ON RANDOMNESS 4HE IMAGE ) GET ON THE NEGATIVE IS NOT THE ONE ) SEE IN THE VIEWüNDER AND ONCE IT IS SET IN MOTION THERE IS VERY LITTLE ) CAN DO TO INČUENCE THE IMAGE MAKING PROCESS *- 4HE CREATION OF THE IMAGE IS A JOURNEY AND ) OFTEN TRY NOT TO THINK OF THE üNAL IMAGE WHEN ) TAKE PHOTOGRAPHS AS ) ENJOY PLAYING WITH THE PICTURES IN DIFFERENT WAYS TO SEE WHAT HAPPENS (ALF OF THE FUN OF USING ALTERNATIVE PROCESSES SUCH AS LOMOGRAPHY OR PINHOLE IS THAT YOU NEVER KNOW WHAT THE üNAL IMAGE IS GOING TO LOOK LIKE ANYWAY SO THERE IS ALWAYS A CHANCE OF A HAPPY ACCIDENT OR AN UNCREATABLE EFFECT #( )T DIFFERS VERY LITTLE BECAUSE MY IDEAS IMAGES ARE INFORMED BY THE PROCESS USED TO MAKE THEM
.' /NE HUNDRED PERCENT $2 !S )lVE SAID THESE PROCESSES ARE QUITE UNPREDICTABLE BUT ) DONlT NECESSARILY CONSIDER A PRINT A FAILURE IF IT DOESNlT MEET MY ORIGINAL mMINDlS EYEn IDEA ) SOMETIMES JUST ENJOY THE ACCIDENTAL DIRECTIONS THIS UNPREDICTABILITY CAN LEAD ME IN -, ) GUESS ORIGINALLY ) WAS SIMPLY DOCUMENTING THE VILLAGES AND MY WALKS ALONG THE COASTAL PATH )lVE DONE THE SAME WALK THOUSANDS OF TIMES AND EACH TIME IS DIFFERENT AND EACH TIME ) TAKE PHOTOS 7HAT ) LIKE ABOUT THESE TECHNIQUES IS THAT EACH PRINT IS UNIQUE JUST AS IS MY EXPERIENCE OF THE AREA
o (OW ARE YOU PLANNING TO DEVELOP YOUR PRACTICE FOR FUTURE PROJECTS #$ ) AM GOING TO CARRY ON EXPERIMENTING WITH DIFFERENT PAPERS AND MEDIA ) THINK )lLL CONCENTRATE ON STUDIO WORK üGURE AND PORTRAIT 7HAT )lD REALLY LIKE TO BE ABLE TO DO IS TRANSFER THIS TECHNIQUE ONTO MOVIE MAKING *- ) M CONTINUING TO WORK WITH DIFFERENT WAYS OF CREATING IMAGES
AND AM HOPE TO STUDY TO AT 0H$ LEVEL ) M INTERESTED IN LOOKING AT THE LINK BETWEEN IMAGINATION SURREALIST PHOTOGRAPHY AND DIGITAL ART #( ) D LIKE TO MOVE FURTHER AWAY FROM THE SINGLE VIEWPOINT OF THREE POINT PERSPECTIVE AND POSSIBLY COMBINE DIFFERENT MEDIA .' 0ROJECTING MY WORK TOWARDS INTERVENTIONS ON PUBLIC SPACES
CONSIDERING THE IDEA OF CREATING A LIGHT WALL AS THE ,ATIN !MERICAN MURALS MIXING PORTRAITS WITH LANDSCAPES AND OBJECTS $2 )lVE BEGUN WORKING MORE WITH COMPOSITE NEGATIVES AND WOULD ALSO LIKE TO TRY TO WORK ON A MUCH BIGGER SCALE IF ) CAN MAKE THE NEGATIVES LARGE ENOUGH !LSO ) WOULD LIKE TO TRAVEL MORE TO BROADEN MY RANGE OF SUBJECT MATTER -, )lM NOT QUITE SURE )lM SPENDING THREE MONTHS AS AN ARTIST IN RESIDENCE IN .ORTH &IFE THIS YEAR IN ORDER TO CONSIDER MY PRACTICE AND DEVELOP NEW WORK !SK ME AGAIN IN 3EPTEMBER
#ATLIN (ARRISON WWW CATLINHARRISON COM
! ,ONDONER BY BIRTH AND INCLINATION THE CITY PROVIDES FOR ME EVERYDAY A UNIQUE ASSORTMENT OF ECLECTIC PEOPLE TO WATCH AND WONDER ABOUT ) M ENDLESSLY FASCINATED WITH THE HUMAN FORM ESPECIALLY META üGURES LIKE GHOSTS OR DOLLS OR ARCHETYPES 3OMETIMES ) THINK MY WORK STEMS FROM A COLLECTOR S SENSIBILITY PARTICULARLY THOSE 6ICTORIAN DO GOODERS WHO PINNED BUTTERČIES OR MEASURED SKULLS %ACH PIECE OF WORK IS AN INDEPENDENT SPECIMEN A SET OF EXAMPLES OF A PARTICULAR TYPE 0RESENCE ODDITY BEAUTY AND HUMOUR ARE IMPORTANT ELEMENTS IN ALL MY WORK WEIRD THINGS IN JARS CLASSIüCATION CRYPTS FASHION BOTANY AND MEDIEVAL %UROPEAN PAINTING ARE JUST SOME OF THE THINGS THAT INSPIRE ME 4HIS PARTICULAR SERIES CAME ABOUT AFTER BUYING A COLLECTION OF DOLLS AT AUCTION
AND HAVING THE DUBIOUS PRIVILEGE OF ONCE LIVING IN ONE OF THE MOST HAUNTED HOUSES IN "RITAIN
#HRISTOPHE $ILLINGER WWW CDILLINGER CO UK
) PRACTICE 793)7)'/4. PHOTOGRAPHY 4HIS STANDS FOR m7HAT 9OU 3EE )S 7HAT ) 'OT /N 4HE .EGATIVEn PHOTOGRAPHY )T MEANS THAT MY IMAGES ARE FREE FROM DIGITAL MANIPULATION AND THAT THEY ARE THE RESULT OF A SINGLE SHOT 4HEY ARE BUILT AROUND A FUSION BETWEEN üLM BASED PHOTOGRAPHY AND TRADITIONAL MARK MAKING TECHNIQUES SUCH AS PAINTING AND DRAWING ) DO PHOTOGRAPHY WITH PIGMENTS INK OR CURRY POWDER ) DO STRAWBERRY PHOTOGRAPHY ) USE TILL ROLLS SUGAR PAPER RECEIPTS PRINTERSl SAMPLE REJECTS OR EXTRACTS FROM TECHNICAL BOOKS ) USE PAINTBRUSHES TOOTHBRUSHES CHARCOAL WAX PASTELS AND EVEN STICKS ) SUPERIMPOSE THEIR TEXTURES AND GRAPHICAL DYNAMISM ONTO CLASSICAL PORTRAITS OR LOCAL LANDSCAPES ) ALLOW RANDOMNESS TO SEEP THROUGH THE IMAGE TAKING PROCESS SO THAT PHOTOGRAPHY BECOMES A GAME A DISCOVERY FOR THE VIEWER AS WELL AS FOR ME
4O ME PHOTOGRAPHY IS NOT ABOUT FAITHFULLY CAPTURING REALITY 4O ME PHOTOGRAPHY WOULD BE MORE LIKE OPENING WINDOWS
-ARYSIA ,ACHOWICZ WWW MARYSIA CO UK INFO MARYSIA CO UK
3HIFTING 4IDES IS AN ONGOING SERIES OF WORK ABOUT THE COAST 4HESE PARTICULAR IMAGES WERE ALL TAKEN DURING COASTAL WALKS IN %AST &IFE
3COTLAND 4HIS AREA INCLUDES PICTURESQUE VILLAGES EG 0ITTENWEEM
#RAIL #ELLARDYKE CRAGGY OUTCROPS AND ROCK POOLS AS WELL AS LONG STRETCHES OF SAND E G AT 3T !NDREWS %LIE 4ENTSMUIR )TlS A WONDERFULLY DIVERSE AREA WHICH HAS INSPIRED MY PHOTOGRAPHY FOR SOME YEARS /VER THE YEARS )lVE TRIED TO CAPTURE THE CHANGING NATURE OF THE VILLAGES AND CONTINUE TO DOCUMENT THE COASTLINE BOTH IN COLOUR AND BLACK AND WHITE !LTHOUGH ) TEND TO USE DIGITAL CAMERAS NOW ) STILL SOMETIMES REVERT TO BLACK AND WHITE üLM ) LOVE TO SPEND TIME IN THE DARKROOM AND TO IMMERSE MYSELF IN OLD NEGATIVES AND THE SMELL OF THE CHEMICALS 4HE TACTILE NATURE OF LIQUID EMULSIONS AND EARLY PHOTOGRAPHIC TECHNIQUES IS A WELCOME CHANGE FROM HOURS SAT A COMPUTER "UT THESE TECHNIQUES ALSO BRING OUT THE HISTORY AND PHYSICAL NATURE OF THE ENVIRONMENT BY PRODUCING AN OFTEN IMPERFECT BUT UNIQUE IMAGE 0ROCESSES 4HE üRST TWO PROCESSES USE CONTACT PRINTS EXPOSED IN SUNSHINE OR A 56 LAMP 3ALT PRINTS 7ATERCOLOUR PAPER SOAKED IN A SOLUTION OF SODIUM CHLORIDE SEA SALT THEN COATED IN SILVER NITRATE MIXED WITH CITRIC ACID %XPOSED üXED IN HYPO WASHED AND DRIED #YANOTYPES 7ATERCOLOUR PAPER COATED WITH A SOLUTION OF FERRIC AMMONIUM CITRATE AND POTASSIUM FERRICYANIDE %XPOSED WASHED AND DRIED .O üXING REQUIRED ,IQUID %MULSION 7ATERCOLOUR PAPER COATED WITH 3% AVAILABLE FROM 3ILVERPRINT .EGATIVE EXPOSED ONTO THE PAPER IN THE DARKROOM DEVELOPED üXED AND WASHED
.ICOLAS 'ONZALEZ NICO GONZALZ GMAIL COM
0/242!)43 /& ,)'(4 ) AM FASCINATED WITH THE EXPRESSIVE WAY YOU CAN CREATE A PICTURE THROUGH THE ACT OF PHOTOGRAPHY 4HIS ABSTRACTION OF THE SUBJECT MATTER IS WHAT ) LIKE MOST 4HE STRONG SCRATCHES THE COLOUR INTENSITY AND THE MOVEMENT OF THE LIGHT ARE WHAT ) AM INTERESTED IN AS SUBJECTS FOR STUDY AND EXPLORATION 0ORTRAITS OF LIGHT ARE LIGHT PAINTED PHOTOGRAPHS CREATED STRAIGHT ONTO THE üLM DURING EXTREMELY LONG EXPOSURES
$AVID 2ANN DAVIDRANNPHOTO
GIBBLEMAIL COM
&OR $AVID 2ANN ALTERNATIVE PHOTOGRAPHIC PRINTING PROCESSES LIKE 'UM "ICHROMATE AND #YANOTYPE ARE AN OCCASIONAL BUT WELCOME DIVERSION FROM HIS DAY TO DAY PHOTOGRAPHIC WORK (E FEELS THAT THE UNIQUENESS AND UNPREDICTABILITY OF THESE PROCESSES IS PART OF THEIR CHARM (IS üRST SERIES OF 'UM PRINTS +NOW THE 0LACE DEPICTS DETAILS OF THE (EBRIDEAN ISLAND OF %IGG AND HAS INSPIRED FURTHER SUCH PROJECTS
Jo Mills jo@gothiceye.co.uk
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I believe in a world of mirrors as literal representations of people, power and the messages which are fed to us through history and the media; they are also portals to another dimension, the ‘mirror world’ where nothing is as it seems, but where nothing in this world cannot exist without its polar opposite – light and dark, tragedy and beauty, creation and devastation. Equally my work exists in this semi-real dimension. There may be a very clear subject or message in my work, often there is more than one way of looking at it; the viewer’s own vision is as unique and important as my own. Just as you can listen to a piece of music and take your own meaning and solace from it, although the writer had a very specific subject in mind that you could never know or fully comprehend, so exists my work. I am particularly influenced by the photographic work of the surrealist movement, play, the uncanny and mistakism. I am inspired by photographers and artists who are able to capture the beauty in everyday life, including Eugene Atget and Uta Barth. I am fascinated by the worlds of the real and the unreal, and the places in which they meet and overlap, such as the mirror. All of us possess the potential to imagine, to create alternative and impractical scenarios, and I am interested in ways of creating art that both expresses the child-like sense of play and makes the impossible possible, such as the work of the surrealist photographers and the recent developments in creating interactive spaces to explore using virtual environments such as Second Life. My long-standing interest in fairy tales, myths, legends and gothic literature further ties in with the idea of the looking glass world where nothing is what it seems – the beautiful can be deadly, humans can fly, and anything is possible. My own practice stems from this, as I aim to create immersive spaces for the spectator to interact with and explore, or which hint at the unknown space beyond – that spectators can experience if they open their minds to ‘step inside’ – using visual arts, including photography and virtual spaces (the mirror world).
3AMPLE? "EAUTY IN $ARKNESS ))) 4HIS IS AN IMAGE WHICH WAS CAPTURED USING A DIGITAL 3,2 CAMERA
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