2010. június 22., kedd

People and Places

Using old film and cheap cameras imbues the images with a certain sense of nostalgia; as the digital image has become omniscient, the reading of images which are consciously presented as analogue images changes. That is to say when we are aware that we are looking at images made through dated processes this alters the perceived meaning of those images.
It is important that this effect is created through analogue processes rather than digital manipulation; the flat tones in these images, the dust and scratches are akin to the crackle and hiss of a vinyl record which can be reproduced artificially but is never quite the same.

As I previously mentioned, the lack of sophistication in the equipment I am using creates a loss of control over almost everything beyond the composition of the images; I do not even have complete control over this as there is a parallax view in a lot of cheap and disposable cameras.
As my degree of control over the images is lost, the Square itself takes some authority over the images; the psychogeography of the place determines the ways in which I walk through it, how I see it. The effect of this is that the role of the photographer becomes minimal in order to maximise subjective narrative space for the reader.

I had initially intended to photograph people as part of the series. This began with experiments sat in Café Rendezvous with a disposable camera rested on a coke can. Having considered my approach I decided it would be best to try and steal images, to catch the unconscious gesture in order for the subject to surrender something of their soul to the image. This of course is something which a photographer may take years to achieve and is largely reliant on chance.

Looking through my first batch of prints the images predominantly of people felt in opposition to those which were predominantly of place; of course I anticipated that they would be different but not to the degree that they opposed one another. It is a question of time. If we are concerned with photographing people there is an inherent temporality; this is a fraction of a second in a lifetime. While spaces have their own lifespan, they age differently and so the same fraction of a second may be reproduced at a later stage. This is an impossibility when photographing a person.
To this end the images of Anglia Square and the people who occupy it do not belong together as they command different lines of thought in their reading. I am happy for people to have a presence in my images, but not for their dominance; I will no longer be photographing people in Anglia Square.

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