35mm

David Gilbert Wright in conversation with Will Hopkins

June 07, 2020 in interview

David Gilbert Wright in conversation with Will Hopkins

I was first introduced to David Gilbert Wright’s work by Simon Tasker (@simonltasker), I believe. I quickly became enchanted by his portraits of life in the United Kingdom, and his Brick Lane series felt timely for the news of the day. Not only did he make technically good exposures, each of his photos captured some intangible humanity, and the projects come together to form a whole greater than the sum of their parts.

This is the first time David is sharing some of this work. Much like Simon Tasker’s newly-shared early work and the unprinted works of Garry Winogrand and Vivian Maier, there is something exciting about old photos that are also new. Of course, he is continuing to produce new work, and being able to view his early photos alongside contemporary projects adds even more dimension to the body as a whole.

I hope you enjoy David’s photos and storytelling as much as I have, and learn something new from a veteran documentarian.

-Will Hopkins

Will Hopkins (WH): Could you please introduce yourself?

David Gilbert Wright (DGW): I am David Gilbert Wright. I am English and I have been a documentary photographer for over 40 years. I first became interested in photography while I was doing a Foundation Course at Art College. Initially, I wanted to go on and study painting but found that photography was a quicker way of realising my ideas and also a more effective medium in achieving them. So, I went on to study Photography at the prestigious London College of Printing.

WH: What was it like studying Photography at the London College of Printing in the 1970s?

DGW: It was a turbulent time in both the Art world and also in Britain itself. Punk was just beginning and it was really something that had been happening in the Art colleges of England before it hit the mainstream. I was caught up and carried along with it and it was very exciting. We were all searching for ways to be different and break the rules. I realised that, in order to break the rules you had to know them and also be technically very proficient.

I learned about shooting and processing film, which stood me in good stead for the whole of my career. I shoot only film and process and print everything in order to retain control over the final result. Although I post my work on social media platforms and on my website, it is meant to be viewed as prints. Only then do you get the full experience of the the grain texture and size of the result. I don’t consider [myself] a Luddite, more a person deeply involved in achieving the best possible result through my craft.

WH: What equipment do you use?

DGW: Over the years, I have used different cameras depending on the work I was doing. For documentary work, I have generally used 35mm cameras. I used a Pentax KX for many years. Recently, I bought an old, second-hand 1970s Nikon F2. It is a beautiful camera yielding amazing results. During my landscape period I used a Pentax 6x7, and I use that for more formal documentary portraiture as well. I have a darkroom in my home, and like to work alone at my own speed. I have a De-Vere 504 diffuser enlarger. My film preference is Kodak T-Max 400 and Ilford FP4, both processed using standard stock developer and times.

WH: Explain your way of working in the darkroom?

DGW: Making prints is a long, involved process for me because a negative rarely captures everything with the correct tonal values. It stands to reason, the tonal range possible on film is only a hundredth of what it may be in the scene being viewed. So I have to make judgements at the printing stage about what aspects of the image will need work. It is much easier now on a computer but the actual act of manipulating your hands to mask or burn areas of an image and knowing the times involved are what makes the process so enjoyable but also stressful, I might add.

WH: When did you go to Wales to photograph the miners?

DGW: I went to photograph the Welsh miners in 1977. I spent about a week travelling around different mines and villages. I did not shoot much film, preferring to try to see what was happening in front of me and carefully, almost forensically, probe until the right moment arose. At that time, I was not really aware of the need to develop a relationship with the subjects in the way that the great John Collier (Visual Anthropologist) did. Now, I am much more aware of the benefits of inspiring confidence in the people you want to photograph so that they feel at ease and almost forget you are there. It does not reduce the subjectivity of documentary photographs but does allow life to unfold in front of you more readily.

The 1970s had seen a number of strikes by the miners and with the advent of a Conservative Government and Margaret Thatcher, their future looked precarious. Obviously, I was not to know that the miners strike of 1984-5 would become one of the bitterest disputes with the Government, whose aim was to break the power of the unions. However, I could sense something in their faces and that was what I tried to record in my photographs. Looking back on that series, I can see the importance of the photographs as not only historical documents but also as the generation that eventually had to face pit closures, redundancies, mass unemployment and mental health problems. The series only contains around 11 pictures but I believe it contains some of my finest documentary photographs. The other puzzling thing about the series is that it remained unprinted for over 40 years, along with the Brick Lane photographs

WH: When did you take the Brick Lane series?

DGW: It was 1978 and racial tension was rising in Britain. Groups such as the National Front were beginning to express nationalist views, and people were becoming uncomfortable with their message. However, high unemployment, strikes and the formation of ghettoes in the major cities like London, Bradford, Manchester and Leeds provided breeding grounds for racism. I was not aware at the time how important my photographs would become as historical records of the way local people were being subjected to hatred campaigns as they attempted to go about their work. Looking back, I can see now how I captured the signs of stress, poverty and courage of the people living in what was the semi-industrial area of the East-End. I spent a couple of weeks photographing in the area. Later, in 1980, I had to commute on a motorbike through a part of South London. The hatred had spread to that area and this time it manifested as violence and destruction with shops and cars being set on fire at night, windows smashed and gangs at each others’ throats. A scary time for many. If only, we had all seen the signs and acted more quickly in the late 1970s.

PC: David Gilbert Wright (Disappearing Ireland)

WH: You went on to do a series of photographs in Ireland. What was that about?

DGW: The family had their roots in a small hamlet called Knockgarra, Co.Galway. They were a rural people like many in the area. I began the project in the 1980s with the idea of documenting the farming communities of Western Ireland to show my children something about their heritage. Quickly, it became clear that things were changing and ways of life were disappearing. So I continued the project for many years. It spanned two decades and is made up of around 45 photographs that explore the themes of family, religion, childhood, farming, commerce, culture and age. I started to work on building relationships with the people who I was photographing by getting their stories. Usually this happened prior to them agreeing to let me take their picture and through the conversations we had as I photographed them. The series is organised into a narrative story and became my response to how external finance and influence had impacted on a way of life.

WH: Do you work as a photographer now?

DGW: My career has involved me working in a number of photographic roles including a film processor, a studio assistant, a wedding photographer, a medical photographer and free-lance. I also spent many years as a Photography Lecturer. I no longer do commissions or lecturing, working solely on my own projects.

My experience as an Art School student and then as a photography lecturer was to learn and teach photography was best done through projects. Even training to be a photojournalist, as assignments are projects of a kind. Finding a subject and then spending time exploring it photographically and getting to know the people and their stories yields much more interesting results than simply taking pictures of anything and everything. People just setting out as photographers might consider this as it is how many of the great photographers of the past have worked.

PC: David Gilbert Wright (Modern Tribes of England)

WH: With that in mind, what photographers have influenced you most?

DGW: Jaques Henri L’Artigue for his ability to capture everyday life. Cartier Bresson for his "decisive moment" approach, Bill Brandt for the beauty of his prints, Don McCullin for his representation of the Industrial North and Homer Sykes for his ability to find the quirkiness in our English folk festivals.

WH: What are you working on now?

DGW: I am engaged in two projects - Modern Tribes of England and Survivors. The Modern Tribes project is a large undertaking and will probably take many years to complete. It is based on the idea that people naturally join groups and membership of them can improve their sense of wellbeing. There has been a lot of research around this especially in New Zealand. Having a social network to support you and fall back on during difficult times leads to a greater feeling of well-being. It stands to reason. Human beings are social animals and form communities. The groups I have been documenting over the past two years include Morris, Re-Enactors, Pagans, Railway Enthusiasts, Urban Agriculturalists and Climate-Change Activists. Prior to the Pandemic, I was about to begin photographing Goths. My approach is an anthropological one involving getting to know the group members and gaining their trust so they almost forget I am there photographing them. An interesting thing about doing this is that many of the groups have got so used to me being around that they have asked whether I am actually going to join and become a Morris dancer or a Climate-Change Activist. However, my job is to document the groups not to join them.

The other project - Survivors is about people who have experienced serious trauma in their lives and have got through it and grown in wisdom and resilience. It is about the triumph of the human spirit over adversity. The idea has its origins in my own experience. I am a survivor of a stroke and a heart operation. Photography has become my saving grace and enabled me to grow stronger. So, I set out to find people with interesting stories that they wanted to share. I record and transcribe their stories word-for-word. We then work collaboratively to design a portrait. My expectation is that once I have about twenty stories and portraits I will exhibit the work and publish them in a book. The project includes stories such as a medic who served in the Vietnam war, a man pulled under a train and had an outer body experience, a woman whose Aunt, Mum, Dad and husband all died within two years and a young refugee from the war in Yugoslavia. This project has brought me into contact with some incredible individuals. Ordinary people with extraordinary lives.

WH: Do you currently teach?

DGW: No, I don’t teach at the moment as I am working on my own work that consumes all my time.

WH: Have you tried Morris dancing?

DGW: No, I have never tried Morris dancing but been tempted. Maybe one day.

WH: Where do you hope photography as a field will go in the future? Professional photography today looks very different from even just a decade ago. How do you think it might change going forward?

DGW: Professional photography now and in the future seems to have very little room for 'thinking photographers'. News is dominated by moving pictures. Journalists seem to take their own photos. The only places that appear open are social photography, e.g. weddings, school portraits, fashion and advertising. In effect, the commercial aspects that pay for high quality results.

Going forward, photography of my kind will become commodities into high value prints that collectors buy. Alternatively, it will be a space occupied by serious photographers who are not in it for the money. They want to tell stories and express themselves artistically.

WH: From J. Han: If you practice black and white film photography and use a darkroom to print photos, which photographer's (alive or dead) darkroom would you like to have access to and be able to watch work in their workspace?

DGW: The photographer I would most like to meet and work with in his darkroom would undoubtably be Ansel Adams. He is the master of analogue photography. His approach to printing is inspiring. He likened the printing of a negative to conducting an orchestra. The negative is like the musical score. The musical score can be performed in many different ways depending on how the conductor interprets it. Likewise, a negative can be printed in many ways depending on what the printer wishes to accentuate. So for me, the printing stage can be a highly creative experience and to be in Ansel Adams’ darkroom using his equipment and even being guided by him would be exhilarating.

WH: What question do you have for the next photographer? You can answer it yourself if you’d like.

DGW: If you could travel back in time, which photographer from history would you most like to interview for this magazine, and why?

ED: To find more of David's work, you can visit his website Davidwright.photography or on instagram at @davidgilbertwright

Hi, if you’ve read this far, thank you. Normally this is where we’d stump for money but, in light of the ongoing protests, we’d like to encourage you to donate to a cause supporting them instead. This whole block is a link to a link tree of resources.

Thanks,

The Management.

Coast to Coast: Charlie Thom

May 03, 2020 in interview

Coast to Coast: Charlie Thom

Andrew D. McClees (ADM): For those who may not be familiar with your work, can you please introduce yourself, and give an overview or introduction to your work?

Charlie Thom (CT): I'm Charlie, a 20-year-old film photographer and university student from Sussex, UK. I have a love for old cameras and visiting new places. I like to think my style of shooting is just "photograph whatever comes to mind". I've never seen myself as having a style as such, but every photographer captures their scene in unique ways and I'm no exception. During my gap year in 2019, I tried and travel as many places as I can as cheaply as possible, and it's taken me on some really memorable adventures. I visited a few places, including Chernobyl where I produced the content for my previous zine, The Nuclear Option, and the USA and Canada, where I produced the content for Coast to Coast.

ADM: We're here talking about Coast to Coast today - what's the concept behind the zine, what was the impetus to put it into a book format?

CT: In August 2019 I travelled to North America for 3 weeks visiting 5 coastal cities, my first time alone in a foreign country with a big bag full of snacks, clothes and cameras to keep me company. While I was there, I knew I wanted to have a final product made out of the pictures I took there but wasn't quite sure what form it would take. I find that happens a lot with my zines and books. I go out, focus on the pictures and then worry about presentation and narrative when I get my pictures back. I feel that way, you tend to stress a lot less about all the little details and just enjoy exploring new places.

ADM: What was the image selection process like for Coast to Coast? Did the images create the book, or did you work backwards from your body of photos?

CT: I didn't realise just quite how many pictures I'd taken until I'd got back and stared at the 700+ frames in Lightroom after hours of processing and scanning. I figured it would be a big, big project to make a zine out of, so I was going to wait till the summer to start working on it - that's when the outbreak occurred, and I thought I should finish it now before it got shelved forever. I thinned these pictures down to just over 70 and it had enough pages to be a paperback book, so I went full steam ahead and designed a pdf for a 66 page photobook. My last project, The Nuclear Option, had a text-based narrative that I felt worked really well due to its historical nature and the short time span I took the pictures in. With this one though, there isn't really much to say - I felt if I captioned a whole book just with stories about myself, it wouldn't be about the pictures anymore. The sheer number of pictures also meant I could divide the book into chapters, one for each city I visited. I think this really breaks up the story nicely and gives it a nice narrative without the use of text.

ADM: What was the specific impetus for your trip to North America, what made you choose the destinations you chose; and how does your book tell or document the trip?

CT: There were a few reasons for choosing America as the destination for my travels: I think the sheer scale of everything is something that really drew me in. The massive sprawling cities and eccentric characters really fascinated me. I'd been to the USA a couple of times before with family, but never had a proper chance to explore on my own and go on a proper adventure. The fact that everyone speaks English too is also a huge help. I chose to visit New York, Los Angeles, San Francisco, Vancouver and Seattle because they're some of the continent's biggest most interesting coastal cities. If my budget had been a bit bigger, I would love to have visited New Orleans or Portland (while strictly that isn't a coastal city, I guess West Coast still counts), but I was cutting as many corners as I could and had to let them go. Coast to Coast tells the story through chapters. Each chapter is headed with a scan of a Polaroid with a significant landmark in each city, something I already really wanted to do just so I could put them in my print albums. When I got home, I'd realised those Polaroids would be great to break up the book into specific segments and give the project's narrative a bit more structure. I captured everything else that caught my eye on my 1951 Leica iiif on whatever film I could get my hands on - colour and b&w stocks of various brands, expired film, etc. My friend Italo very generously gave me a big bag of assorted film when I met up with him in New York (Thanks Italo!). I shot a lot of street but also landscapes too if my surroundings allowed it. I tried my best to tell stories with each picture, and I feel each chapter really has its own distinctive, unique flavour.

ADM: Following that up, were there any big moments that stood out to you, or "clicked" the book into place when you finally did sit down in front of your scanner?

CT: I learned a lot of things about the United States and its people/culture throughout the whole of this trip. It was very insightful, almost enlightening, to see how different everything is to how it's portrayed on television. To actually see America in person was truly something special, and the people I met along the way were probably the best part of the whole experience. I also learned a lot about myself, how I overcame problems like having my flight home cancelled while I was there, and having to spend 4 hours on a bus through Compton and arriving at LAX airport covered in bleeding bug bites, or missing my Greyhound bus and hitching a free ride on another bus because the driver was a super cool guy. There always seemed to be solutions to the challenges I faced, and I think I got some really good adventures out of some of them. When I got back from the States, I was going to move into my university halls 2 days after I landed, and I don't think I've ever processed and scanned that much film in such a small span of time in my entire life. I also learned how to create a proper scanning and editing workflow, with this amount of film it's near impossible to sort through all the pictures and pick out the best images unless you have a good workflow setup.

ADM: What did you learn, either about your trip, or your photography while editing the book?

ADM: In terms of influence - what would you say your biggest influences on the project were, photographic or otherwise?

CT: Inspiration came from a wide variety of people for this one! I drew influence from a few great zines I have such as Useful Idiocy by Jules Le Moal, Reason for Visit by Nicolas Hagen, Enter Barcelona by Nigel Allison/unevenedits and Zoeld by Illia Popovich, as well as a few others. I also drew inspiration from a few of the classic American photographers of the 20th century: Robert Frank, W. Eugene Smith etc. I also got a lot of advice and second opinions during the production of the book from close friends and fellow photographers, which I'm eternally grateful for!

ADM: I find it a really interesting choice that all of the images are titled, what prompted you to title all your images, and was it difficult to title them?

CT: I've always had a fascination with titles - while I made the choice not to write out all my stories and experiences and focus more on presenting the pictures themselves, I still wanted to give the viewer my own impression of the picture to give it a bit of a personal touch. Another reason I added a black stroke and title on the images was to make the book feel like a miniature gallery. I based most of the captions for the pictures off my Instagram posts, but I changed some of them if they didn't fit the frame well. Presentation to me is one of the biggest parts of producing a zine or book, and I wanted it to feel a bit fancier than my previous works. You'll notice there isn't a single double page spread. While there were pictures I really wanted to print nice and big, I felt it wouldn't be doing them justice if a large portion of the frame was lost to the fold.

ADM: For someone on the fence about making a big, multi stop trip, in a very unfamiliar place - as well as documenting it - what advice would you give?

CT: Don't stress too much! It's not an adventure if you aren't lost. Try not to plan every last detail, just make sure you can get to and from your destination(s), have a place to stay, and have enough money in case anything goes wrong. The best adventures I had on this trip weren't planned, they just happened as I was out exploring the area. It was quite daunting at first when I was planning everything, but once I had everything booked it was really easy from there.

ADM: From Sadie Rose Bailey by way of Sam Lloyd: What other creative outlets do you pursue? And what does it bring you that photography doesn’t?

CT: I really don't have any other creative outlets! I can't draw or play any instruments, my co-ordination is absolutely terrible. I adore photographing bands though. I think being able to photograph a band is the next best thing to being in one. I'm doing a Media Production degree at the moment so I do have some video/audio production experience, and I know my way around photoshop. I also collect records and have a Hi-Fi setup in my bedroom, which has become the saviour of my quarantine lifestyle at the moment.

ADM: What question do you have for the next photographer? You can answer your own question if you'd like.

CT: Do you have any projects planned after this one? Spill the beans! If this lockdown ends before the summer and I can get a decent amount of shifts before the summer, I really want to travel Scandanavia, especially Norway and Finland.

ADM: Where can people see your work, and purchase your zine?

CT: You can find me on Instagram @charliethom_ or on Facebook at @charliethomphoto. My zine is available through my Etsy shop, a link is available through my Instagram bio. You can also search "charliethom" on Etsy and find my shop that way too.

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SURE: Daniel Wang

March 14, 2020 in interview

SURE: Daniel Wang

Andrew D. McClees (ADM): For those who aren't familiar, could you introduce yourself and your work, photographic or otherwise?

Daniel Wang (DW): Hi. My name is Daniel Wang and I am based out of Toronto, Ontario. I developed a fond interest in photography 3 years ago when I was introduced to skateboarding by the wonderful community I was surrounded by. How I thought about and viewed architecture and other physical aspects of a city were completely changed when I dove deeper into the the craft and mindset. My enthusiasm in street photography and photography as an art form was sparked through the exploration of my environments evoked by skateboarding and when my roommate introduced me to film photography and the history of art. Since then, I have worked professionally in event photography and started attending Ryerson University to further my understanding of the medium as a tool for creative expression. Currently available works include, my first photo zine "sure" and a selection of film photographs in my visual diary on instagram @danxuwang.

ADM: "Sure" looks like it's a zine about a trip or travel - was there a specific trip it was from? - what's the story behind it, and where does the title come from?

DW: "sure" is a photo zine of a 40 hour trip I took to New York City on the last weekend of my reading week for school. I used a roll of Fuji Pro 400H and Kodak Portra 400, with my Canon Sureshot 70 zoom, developed and scanned at the local camera store. Many notable photographers of New York have inspired the run and gun and silent observer styles of photography present in the zine. On the creation of the title, who really knows. I could have been really stoned with my roommate and saw the "sure" in canon sureshot and called it a day, or it could mean something more. Something to do with the definition of "sure" as a definite affirmation and how the word is ironically perceived today as a "duh" or "whatever". Nevertheless, nothing is more ensuring then documenting a captured image and as a mantra, I can't help but say sure to an exhausting and mind stimulating 40 hour trip in New York.

ADM: You use a lot of color blocking and color on your background (which I find really neat) - is there a significance to those color blocks, or is it an alternative to white to augment the images?

DW: I feel like there is a significance to the colour blocking. The editor and I really thought about the physicality and rhythm of the book and completed it overnight, we were very inspired. How the book felt to read through was most important. The tapered colour pages and coloured spreads provoke and primes the reader from every angle before even opening the book. The colours in the backgrounds are equally as important as the photos presented on the spread. We really tried colours until our intuition told us to stop. Inspiration came from colour palettes we'd see in the photos and our everyday life, from the t-shirts hanging in chinatown to our random assortments of gathered knickknacks. How did you find the coloured spreads and taper pages, Andrew? Do you have a favourite page and why?

ADM: I quite liked them! I found that as a photograph Page 10 (or the 10th Spread — Pictured here directly above) is my favorite -- but that's very much a personal appeal - I really like centerfold images on a spread, especially used in a landscape/survey style -- as far as overall spreads 15 and 19 were my favorite layouts or sets of multiple images together, both for the image choice and the intersection of the images. Tying into the above - the zine seems to be chronologically ordered - what was the sequencing and selection process like for "sure?"

DW: I am glad the zine seems to be chronologically ordered, but it was definitely not! Again, we really just relied on intuition and instinct and wanted to experiment with something different then what we were accustomed too. Each spread was made with specific themes in mind, whether we wanted to completely highlight an image or add colour and shapes to the viewing space to augment the image. Putting it together was just seeing what felt right where. I would say these weren't my best photos of New York but they made the most sense for me to put together for this zine. The catalyst for the zine derives from thinking about how important the presentation or delivery of something can be, compared to the thing itself. Along with all the physical aspects of print and book making, creating this zine has opened a new channel for me to express my ideas.

ADM: You mention working with an editor rather than strictly self-editing the zine - I think this is a great idea - who was the editor and what was the process like working with an editor outside yourself?

DW: As much as I love the idea of independently produced products I believe my collaboration with my editor, roommate and good friend Kolwyn McKinstry was an important element to developing and fine tuning my creative ideas. The hardest part is finding the right people you can confide in and share a creative vision with. Once I started talking more personally about expression, photography zines and colour, the discourse between Kolwyn and I became very valuable towards how our work process developed. Having another person to share my ideas with, helped me formulate and create this with much more confidence. He kept me stoked !!

ADM: I really like the thematic togetherness of the book - was there a specific moment or impetus where it clicked to step away from the confines of strictly ordering things chronologically as many zines are want to do?

DW: Again, I appreciate that dearly. TBH, I had originally planned for the zine to be chronological but with our emphasis on how the book feels to read, we preferred the rhythm of the order we had chosen. It is hard to say if there was a specific moment or impetus, but it is a smoother read this way.

ADM: It's really cool to hear that this has opened up a new venue to express yourself - are you planning more zines?

DW: I am planning more zines! Going through this process has made me realize how much I love doing it, it is an interesting medium and I plan to experiment more with my editor and any willing collaborators for future zines.

ADM: Where can we pick up copies of Sure? and see more of your work?

DW: Sure can be picked up on my website www.danxuwang.com or by DMing me on instagram @danxuwang. I plan on releasing prints and more zines. It is currently a 1 man operation, but I will do my best to ship it in a timely manner !!

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FLORA: Adrienne Hulme

February 09, 2020 in interview

FLORA: Adrienne Hulme

Andrew D. McClees (ADM): Hi Adrienne! Thanks for agreeing to do this interview. Could you introduce yourself and describe your photowork?

Adrienne Hulme (AH): Hello, I'm Adrienne, and I live in San Diego now but am originally from Portland, Oregon. I've been taking photos since I was 9 years old, and my purpose in my photography since then has always been to capture the beauty that I see around me. My subject matter is actually rarely people; I usually just take photos of "ordinary" things I see around me, but I like to capture them in a unique way that highlights the beauty in them that others might not notice. I focus a lot on light, textures, angles, and closeups.

ADM: You do a lot with multiple exposures, is that central to the zine? how did you get into doing them?

AH: Yeah so this zine is actually all multiple exposures. It's really the first time that I've made an effort to photograph people; particularly for a personal project. I started wanting to experiment with double exposures when I started getting back into film within the past few years, but since it's film and it's not cheap, I didn't really want to try it if I had no idea how to do it, and waste film. This last year though, I went to The Darkroom Lab's Film Photography Paideia and took a workshop on double exposures with Trev Lee and Aaron Checkwood, and between that and some extra tips from my muse Starla Little, I felt ready to attempt some. Starla is a double exposure queen, and she was also my first model, so she helped me out a ton with the whole process.

ADM: Related to the above -- you shoot a mix of film and digital. Do you find your personal work tends more towards one or the other? If so why.

AH: I definitely shoot mostly film for personal stuff. I started out on film when I was little, but digital cameras were becoming a thing so I switched shortly thereafter, and had been only shooting digital for years. I bought a Mini Diana camera when those were getting popular, but didn't shoot it much because I didn't have a film community in Portland. I bought a Minolta srt-100 at a studio sale a photographer had here in San Diego, still didn't shoot it much for a year, then found Beers and Cameras, got involved with that, and got back into film. I was still shooting a ton of digital all the time, but shooting more film has made me take more time with my shots and slow down a bunch, so I don't shoot as much as I did before. I'm a lot more intentional when I take photos now, so I don't need to take a ton of digital photos of everything, and I prefer the look of film (and not having to edit photos), so if I see something that I want to capture and it's important to me, I shoot it on film. Also all of my personal projects are on film. It's just more beautiful to me.

ADM: Do you have a typical shooting pattern? what does a typical shoot day look like for you?

AH: Not really. Most of the time I'm just shooting what I see. For my actual shoots with people, like the double exposures in the zine, I plan out how I want it to look in advance, and communicate my vision to the model so they can prepare, but on the day of I pretty much go with the flow. My first double exposure shoot I did actually have terrible anxiety because it was my first time shooting a model in studio as well as my first time doing double exposures, so I pretty much had anxiety dreams about every possible thing going wrong for the shoot the night before, culminating in the entire world being engulfed in flames. So then of course I was super nervous up until the shoot, so I was really grateful the model was Starla who is great at posing but also could give me tips about the shooting. After that though it's been great! I just have my generic idea of what it's going to look like but then just see where it goes. Everything just falls into place.

ADM: What drove you to do a zine comprised specifically or focused on Multiple exposures - or what was the inspiration or the thought behind combing models with overlay (underlay?) of flowers?

AH: I've always been obsessed with flowers, they're one of my favorite things in the world. My inspiration for my double exposures was Starla's double exposures of models with flowers. She also has some amazing double exposures with things other than flowers, but I mostly stuck to flowers and plants since they're my favorite. I did try one or two other things on my rolls, but they didn't turn out well. Flowers lend themselves quite nicely to double exposures, especially with models. They give a feeling of fairies or nymphs or something, which are also my favorite. As far as focusing the zine on them - it's really my first cohesive body of work. I actually had no plans to do a zine for a while, because it's not really my thing, but also because I had no idea what to put in it. To me zines have to have a theme, and I didn't have anything I felt like I could compile into a zine. I have received a ton of positive feedback on the double exposures though, so I finally decided this was something worthy of a zine.

ADM: What was your process like, putting the exposures together? did you plan out which model/setting would go with which flower?

AH: I actually did very little planning. I'm thinking in the future I should do one where I write down what each shot was so that I can carefully plan them out, but on these I just had a general idea of what I had done on the first exposure. On 3 out of 4 of the rolls, I shot the models first, and since I would shoot in a certain spot, then move to something else, I had an idea of how I did that when I shot the flowers. On the other one where I shot the flowers first, most of the shots were random, but then I did some with a black background at the end, so I had that in mind when shooting the model on that one. I also exposed a certain way when shooting the models so that the flowers would show up a certain way. I'm also aware that I usually center a main flower in the middle, as well as the model's face or whole body, so they usually line up. Not everything turned out great, but most of it turned out pretty well. It ends up being a big surprise and pretty exciting when I finally get to see them, and some of them turn out way better than expected, and it's kind of like Christmas, haha.

ADM: Do you have more projects like this on the way, or are you more focused on daily shooting at this point?

AH: I have another roll of double exposures I'm working on that will be different, because it's portraits, all different people (which is why it's taking me forever), black and white, and silhouettes. I'm really excited for that one, but I have to hurry up and finish it! I definitely want to do more experimenting with similar stuff, but I need to think of some new ideas. I've been doing a bit more casual shooting otherwise right now, because I've had a lot of other stuff going on.

ADM: What was the layout process like for your zine? How did you decide to sequence your images in the manner you did?

AH: I selected my favorite images that I wanted to use in the zine first, which was more than what I needed. I had my MOST favorite images that I definitely wanted to include, and then some that I liked that weren't as important to fit in there if I ran out of room. Since most of them were portrait orientation, I wanted to have each pair that you would see together to go together in some way, so some didn't make it because they didn't have a good match. Two that are favorites went on the front and back. The actual order wasn't as important to me though, I basically just started picking out pairs and putting them in. I did try to mix it up as far as the models and how the images look, as well as throw in a couple landscape oriented shots.

ADM: You mention a strong love of flowers and fairies, as well as Starla Little's double exposures as influences -- what are your other influences in photography, or art, and were there any specific influences artistic or otherwise for this project?

AH: I've actually never really tried to draw inspiration from other artists or photographers. I have favorite artists and photographers, but I've never tried to say "I admire this person's style, and I'd like mine to be like theirs." I obviously can't isolate myself from seeing things and retaining that when I'm making my own art, but I try to come up with my own ideas and style. Everything I've seen in my life is a general influence, but I don't reference anything specifically when I create things.

ADM: That's interesting that you were reluctant to do a zine - you mention getting praise on double exposures -- out of curiosity why weren't zines your thing? Outside of praise on the double exposures was there anything else that pushed you over the edge to go make this zine?

AH: I always want photos to look their best, and by nature, zines are not really great quality. I'd rather see and make larger prints on nice photo paper or canvas or metal or something that makes them look amazing. The reason I chose to do it is that the community of photographers I'm in is really into zines, and several people in the group have already made some, so it's kinda a thing that everyone in the group aspires to. So I knew that they would all be supportive if I did one, I just didn't know what to put in one before I did the double exposures.

ADM: For those who haven't worked with a model before, but are curious about that process, can you give any tips or advice?

AH: Two of mine were pretty informal because they were friends, and then one was a professional model that I've been following on instagram because another film photographer I follow shot with her, and I love her look. She had posted that she was doing a reduced rate for a month, so I just responded to her story! She was pretty easy to work with too, so I still have no idea how it works normally, ha. I do have a model release that I use for stock photos, which I got off Adobe, and I had her sign that, but you don't need them usually to print photos. I still think it's nice to have a model release for professionals so that your bases are covered. Definitely communicate with them before the shoot what look you're going for (unless you are providing wardrobe and makeup), and if you want to do nudes, that's another important thing you'll have to discuss first. I don't really have any other tips, because mine were all super easy to work with! Definitely don't underestimate their worth though, because having a model that knows how to pose themselves will make your life so much easier!

ADM: Where can people go buy your zine, and see more of your work? I know the zine was on kickstarter - do you, or will you have extra copies available for purchase?

AH: I will have extras, I will probably be putting some up on my Etsy, which is at https://www.etsy.com/shop/LysBleuDesigns or here at: https://lys-bleu-designs.square.site/product/flora/1.

Most of my current work is on my instagram, https://www.instagram.com/bluelily52

Landscapes of Nostalgia, and Beyond: Karl Bailey

January 08, 2020 in interview

Landscapes of Nostalgia, and beyond: Karl Bailey on nostalgia, travel, and the zine.

Andrew D. McClees (ADM): Hi Karl, thanks for doing this interview. For those who aren't familiar with you and your work can you please introduce yourself, and describe your work a little bit?

Karl Bailey (KB): Hi, my name’s Karl Bailey, I'm 28 and live in Portsmouth which is a sea city on the south coast of the UK.

A lot of my work is about looking backwards. Many of the locations I've shot at have been inspired by or even from, my own childhood. I'm also keen to preserve and document history and the many changes that we observe over our lifetimes. Ultimately I wouldn't say I aim to have a specific style of work or shoot with a style in mind but I'm always told my work evokes nostalgia.

ADM: I'm curious, when did you pick up photography? Mining a little deeper in, do you think it's linked to your focus on nostalgia? and following that up, what specifically about nostalgia do you find so compelling, both individually, and culturally?

KB: My dad took a lot of photos and video and even had his own darkroom at one point, I was always carrying a little point and shoot on family outings, so I think that's how it was picked up/passed on. I got really into it when I was about 15 and studied Media and Photography in college where I got to use the darkroom and shoot video. From that point on I was part of a local video group that made an amateur sci-fi series for small local TV channels, Then I started picking up photo and video work professionally and ended up shooting all sorts, weddings, corporate, promotional etc but it burned me out and I didn't touch a camera for years. When I finally did in 2018 I realised it was the natural thing that was missing from my life. There is definitely a link somewhere down the line, I love the idea of archiving and not letting any part of history slip away, for no one to remember it; the thought that something or someplace has created so many memories for people and could be knocked down with little thought makes me quite sad even if I'm not personally connected.

ADM: What got you into the zine or photobook format?

KB: I love creating and making things, this stemmed from a diy record label I owned with my friend about 10 years ago. We would release music on CD's, Tapes and Vinyl and I was always pushing myself to create interesting and appealing packaging. It just feels natural to carry on that physical aspect in what I do now. Having something to hold and enjoy is really important even more so for photography, printed work is so much better than looking at it on a screen.

ADM: What does a typical shoot day look like for you?

KB: Some days I will carry one camera, and others I will end up carrying too much. Ultimately it's about exploring new places or turning down roads I've never been down before and seeing what will crop up, usually I will walk miles on end as this is the best way to explore. I always carry a camera on me wherever I am so technically everyday could be a shoot day!

ADM: How do you conceptualize your projects, and what's your selection process like?

KB: I've yet to shoot with a project in mind, although this is something I have started exploring just this month. A lot of my projects (then zines) are born from a moment in time that I've been shooting in. Themes and ideas usually come to me once I have the photos and I can tie them in that way. The selection process goes from contact sheets, narrowed down to printed A6 photos and then I lay them out or pin them up, I'll leave them for weeks and slowly look at them every now and then, make notes and finally pick the ones for a project/book... assembly I'll try to find connecting themes and elements depending on how I lay out the book initially.

ADM: Having read All of a Sudden I Miss Everyone, and also having seen work from Greece and End of Summer on your Instagram, it seems like a lot of your work has to do with both travel, resort towns, and decay. What about those subjects do you find so compelling, or what drives you to make projects with those themes?

KB: To most people these things are just ignored, they see the beauty in the shiniest and newest things and not the character that I see when taking these photos, Again it comes down to history and not wanting these things to just be gone one day and for no one to care or see them. Greece was a nostalgia piece for me, I went there as a child and I remembered so much of what it was once and instantly felt the need to document the remnants that were left.

ADM: I know you were living/working in China recently -- do you have an upcoming project with work from there?

KB: This has been my biggest project to date, sifting through 1300 photos to try and get a reasonable number of photos for a project was extremely challenging and daunting.

I currently have 300 A6 photos that I will start laying out for the book and I'll probably end up cutting back at the same time. The project will be one-half of China photos and the other half Hong Kong photos, the China half will be titled 'I don't know why the caged bird sings' which is a social commentary piece on the joy and happiness that I experienced from the populace, despite them living a somewhat oppressed lifestyle under the rule of communism without even really knowing about it. The book will be appearing on Kickstarter in the first quarter of the year and I will be holding a gallery show in my hometown in August.

ADM: Off the some of your other responses you've given, you found your hypothesis for the book after going out and shooting and documenting a lot. Can you speak on what some of the big moments or images you captured were that led you to focus your book on The Joy of the people of Hong Kong and China despite the oppressive nature of their government?

KB: Living in China was such an eye-opener, I strived to understand and talk to as many people as possible about history, culture, family life, politics and the future, I think at the end of it and having experienced some of the more dangerous sides of China It was an almost natural conclusion. Walking around the apartment complexes, going to the food markets and living in the poorer area of the city gave me a real glimpse at the people, sometimes they would come and talk to me, or sometimes we would just communicate solely with body language but most experiences I had were that people seemed happier, more open, more willing to help... it was a lot different to living in England where everyone is so cagey and polite. For Hong Kong it's very different, the city is naturally a mix match of cultures (British/Chinese) and it's totally and utterly unique because of that, it's an amazing and beautiful city with photographic moments to be had around every corner.

AM: For those considering getting into photography -- film or otherwise -- what would advice would you give? Also, for those who might be interested in making a zine, but don't know where to start, do you have any tips?

KB: Just go out and do it! Visit galleries, buy books, find photographers you enjoy, expand your knowledge... don't get hung up on buying gear, don't get hung up on Instagram likes/follows... more importantly, just have fun and use it as a creative outlet... something I think has been somewhat lost in this modern generation. I think understanding design/layout is really important, study from the greats, find your subject or theme for your book, be critical and ask for opinions. Be somewhat sure of yourself and your work, make a zine worthy of owning and not just for the sake of making a zine.

AM: Have you found any particular photobooks or photographers that have strongly influenced your work? If so, who, and can you talk a little bit about why, and what books or work of theirs you'd recommend?

KB: So many photographers, I'm always excited to see old or new work and I love collecting books...

Modern Color by Herzog stood out to me a lot this year which I think is apparent in my 'End of Summer' zine I've also been enjoying books by McCullin, Parr, Laura Wilsons 'That Day' and the Magnum Contact Sheets book. I can't stress how valuable these are to a photographer!

AM: Those are great recommendations. Thanks again for doing this interview! Where can people find and buy your work, either your zines or your prints right now? Do you have any other parting words ? Can we expect you back to talk about "I don't know why the caged bird sings" when it's closer to completion?

KB: www.karlbailey.co.uk for all zines, occasional prints but I tend to put them up as one offs on IG stories (@karlbailey). Thanks for having me on to do this, it's been really fun! I would love to come back when the time comes!

Together, We Wither Away and Know Worries: Dylan Rozzelle

December 18, 2019 in interview

Together, We Wither Away and Know Worries:

Dylan Rozzelle (@objectsofridicule)

Andrew D. McClees (ADM): So, for the readers, Can you introduce yourself, and give a quick overview of your photowork? (beyond the examples we've incorporated here?)

Dylan Rozzelle (DR): I currently live and work out of Richmond, Virginia. My work is entirely based on life as it’s happening around me. I can’t say I’ve ever set out to hone a particular style, I just enjoy documenting things in an unadulterated way. The process of shooting has just become ingrained into my lifestyle. After learning how a camera works, everything else just sort of fell into place for me. Humanity creates my images, I just have to focus and press the button.

ADM: I remember from having talked with you before, your instagram handle "@objectsofridicule" is actually the name of an overall project, is it more your zinemaking/bookmaking output, or your overall body of work? also what's the story behind the Name, and how does it interplay with the work you select for it?

DR: It’s more or less a moniker that just ended up just sticking with me. I like making things for friends and people with similar interests as myself. Photo zines, poetry, pins, patches, anything I was creating and giving out in numbers really, I just started stamping with the name. It was never meant to be taken too seriously, and still isn’t. I’m not trying to create a brand in anyway, it’s just something that’s become an ongoing project -- one that as of recently has shifted away from my own work and moved towards others as well. I have a love/hate relationship with the name, but I think that’s inevitable with anything you’ve submerged yourself into for multiple years, and grown older with.

ADM: From the zines I've read of yours, a lot of your work seems to be done while traveling rather than in any given/set location -- is there a primary reason for that, and what is it specifically that draws you to travel, and how has it influenced your work?

DR: It’s not planned that way specifically. I carry a camera on me at all times, so anywhere I happen to be, I’m taking pictures. Last year a lot of time was spent meandering different countries, so the zines just happened to follow the experiences. When traveling alone, I shoot a lot more, but the focus tends to turn more towards the streets. Being alone and in new places, I find myself less distracted than any other time I’m out shooting, mainly because the only comfort I have is in holding a camera. It’s easy to romanticize new places, though, and shooting daily life is just as important to me.

If you’ve ever gone to a local library and looked through the photo archives of where you’re living, it will teach you not to take for granted what you see on a routine basis. Every city is consistently under construction and will be vastly different decades from now. The hand painted ads, cars, clothing, those things that gives older photographs their charm just happened to be the way life was existing then. There’s no true proof of the past other than the photos that were taken. Time has made mediocre photographs much stronger now than they were when the shutter first opened. Everyone that is documenting the places they have lived will have much more compelling content 40 years from now. The factory your father worked in as a teenager is now a tacky condominium and the record store you used to catch punk shows at is now an Urban Outfitters. You can’t get those stories from street photography in foriegn places. I try to find a balance between the two, because I see the value in both.

AM: Got it. I take it we/I/your audience in general can look forward to at least one, if not more Richmond based zines in the near future? The nod to documenting your life as part of history is interesting -- did you grow up in Richmond?

DR: I have a few things in the works, absolutely. In July I put out a zine titled Together, We Wither Away which is comprised of images from the east coast, with a large focus on Richmond. In the brief period between getting back from overseas to releasing that zine, I had gone home (a town called Norfolk about 100 miles south of Richmond) twice -- both of which were for funerals of people who played valuable roles in my life. As soon as I got back from the second funeral, I formatted that zine and then put it into print. It was an attempt to make a statement against detrimental lifestyles and self-harm, as well as a way to help cope with my grief after their deaths.

Since then I started putting my efforts into a project called Know Worries. They are 4-way collaborative anti-profit zines. Once I curate and publish them, each artist receives 25 copies to do what they will, other than to make money. Know Worries II was released last week.

AM: Your portfolio is entirely black and white, and it has a pretty distinctive edge to it -- how did you settle on it? what were some of your influences for your look?

DR: I shot strictly color through cheap cameras for years. I was soaking films in any chemical I could think of to get bizarre color shifts, and completely destroying emulsions, cross processing as well, just to see what would happen. I didn’t care, I just liked to shoot and experiment. I ended up becoming good friends with a guy who was vastly more knowledgeable than I about photography. He helped guide me towards better cameras and glass, showed me books by the greats and it shifted my focus. That’s when I began to start taking it a little more serious. I switched to black and white because we were processing the film ourselves in my apartment. In turn, the cheaper it is to get images, the more careless and often you can shoot. Good photos are subjective and completely by chance in my experience. The more you shoot, the more chances you have of getting something you’ll be happy with. We ended up living together and turned my bedroom into a darkroom. Fully submerging ourselves into the process. I learned a lot during those times and it helped shape my style for sure. I attribute a lot of where I am today to him. Shout outs to Josie.

I’ve tried shooting color since then, but I just feel like it doesn't carry the same weight and feeling for my own images. I don’t look for colors, I rarely even think about them -- but maybe I’m just too far gone in that thought process. I’m sure it doesn't help that 95% of the books that I buy are black and white. I don't think one is better than the other, I just think it happens to work better for me personally.

Most of the photographers I admire were living and working sometime between the 1970s and the 1990s. Having not lived my youth through those eras and being attracted to the subcultures that sprug during those decades, I’m fortunate for the ones who decided to pick up a camera and were shooting back then. In current times, color point and shoot photography is one of my favorite styles to admire because I know the importance it holds for the future. It plays a large influence in my work even if I’m not doing it. There is nothing about it not to love, and anyone who knocks it is just trying to put themselves on a pedestal. That purist mentality is what ruins art forms and discourages people from getting into it rad stuff -- no matter what scene you’re in, I feel that it almost never does any good. I encourage anyone I meet that shows the slightest interest in photography to buy and a point and shoot with decent glass and just blow through frames to get started. Whether you enjoy color, or black and white, who gives a shit. I think it’s all irrelevant if you’re having fun and it’s going to leave future generations more content to be enamored by. If you don't want to learn the technical side of things, I don't think you should have to. Elitist culture is pathetic. Getting pictures is the point of what we do, right?

ADM: Agreed! That’s really rad -- and a smart suggestion for people thinking about getting into photography, or film photography specifically. Elitist culture makes it really difficult to just get new folks into whatever they’re gatekeeping -- usually to their own detriment. Could you share a few of the books and photographers that you’d admire, and recommend to someone just getting started, that’s been out shooting a fair bit but hasn’t really immersed themselves in the history of photography beyond say instagram (not that there’s anything wrong with that)?

DR: I think it’s important to find out what kind of photography resonates with someone before recommending them too much. I love to read, but I could give a shit less about James Joyce. When it comes to photo books, there’s no shortage of inspiration to be found. The feeling you get flipping through an artist’s book is something the internet cannot give you. The problem with instagram is that it’s far too much content to digest. It’s almost impossible to connect with a viewer, and hold their attention before it’s all lost to the movement of a thumb. Pretty fucking tragic, really. I always recommend going to used bookstores and the library, there’s always new things to be found, plus there’s no need for money if you don’t have it. You will always, without fail, end up inspired to create more compelling work and theorize ideas for new direction in your photographs.

A brief list of people who have personally inspired me:

Tish Murtha, Ray Metzker, Gusmano Cesaretti, Richard Sadler, Andre Kertész, Mary Ellen Mark, Jill Freedman, Richard Kevlar, Helen Levitt, Eikoh Hosoe, Bruce Davidson, Gary Winnogrand, Ralph Gibson, Joseph Koudelka, Lee Friedlander, Ari Marcopulos, Saul Leiter, Julia Gorton, Eugene Richards, Larisa Dryansky, Bill Brandt, Ed Templeton, Ed van der Elsken, Peter Hujar, Nan Goldin, Ken Schles, Robert Frank, Larry Towell, Boogie, Mark Cohen, Jun Abe, Anders Petersen, Mike Brodie, Donna Ferrato, Sylvia Plachy, Bill Daniel, Edward Grazda, Gordon Parks, Elliot Erwitt, this list could never end...

As for books, all of them.

ADM: You mention a strong focus on shooting your life, or humanity making the photos for you, and later go on to say that you’re pretty far gone in the black and white thought process. Can you walk us through what you’re thinking or looking for when shooting and composing your images or is it more gut instinct and small calculations?

DR: It depends on the situation and camera, I suppose. On the street, anything goes. A lot of it is gut instinct, I never really know what I’m looking for, I just know when I see it. I have a good idea of what I want in a frame when the time arises. Sometimes it works, more often than not it doesn’t. Anything that sparks my interest, I’ll shoot a photo of. I’m trying to get better about just taking my friends photos. My 2020 goal is to shoot more medium format portraits.

ADM: We touched on it before, but you make zines fairly regularly, at least once or twice a year -- what’s your process for putting together zines like? What advice would you give someone making their first zine, or even just toying with the idea?

DR: Yea, I actually made 4 this year -- kind wild considering I think they are some of my best work yet. Zines are something I’m constantly thinking about, and always working on ideas for. I have a section in Notes on my phone for titles and concepts. If they will actually come out is a different story, though. I can sit for weeks or months curating zines and playing with InDesign only to scrap it completely and move to something else. That’s just how I work.

As with photography, zines will be a learning process. You don’t have to be great at it, just do it because you want to -- dive in and see what happens. It’s always going to be better than nothing. The best advice I can give is shoot, make, repeat.

And don’t listen to a word people say about photography, including this interview.

ADM: Fair point! Thanks again for the interview! Do you have any parting words? Also where can people buy or trade for your zines (trade especially for Know Worries), and see your work?

DR: Always down for trades, chats, and advice on how to not make money off of photography. @objectsofridicule

Ed. Note: We couldn’t fit all the photos we wanted to here, so we’ve put up a gallery in the “People” section of the website, entitled “Dylan Rozzelle: Portfolio.” Either use the click through menu or click here.