Photography is my main deal this year, for sure. But I’m always dabbling in other little ventures – and I find they usually have takeaways that are useful for photography. If I wasn’t a photographer, I reckon I’d probably be designing taps and shower heads. I love bathroom fittings. Man, I love a good tap. The lines, the subtle curves, the beautiful intersection between simple finite functionality and design. So there’s a little nugget of insight for you.
Back to photography.
One of the smaller things i’m involved with has to do with working with funeral homes. In the process of gathering what we call “dummy” content – that is, content in the absence of what will actually be there in the end – we’ve been using placement images from a writer that passed away last year, Colin Wilson.
And it made me realise why I’m loving the little rise of the film movement, and the exploration of different formats, glass, and capture mediums that all add their own bit of personality, and authenticity through imperfection. Partly owing to, as digital becomes “flatlined” and completely democratised, people wanting and chasing a point of difference, and a voice that’s theirs.
But more than anything and the point of this post – I look at these film/plate photographs of Colin, and think “everyone deserves to have at least one image captured of themselves like this in their lifetime”.
An image that’s moody, authentic, partly candid, and tells a great story about them in one fell swoop. Captivating, timeless, and the only image you could ever properly imagine associating with that person. And with all the obvious positives of digital, the more images that I see like these, the more I think that it’s only analogue processes that are up to the task, and the more I want to carry gear around so that I might be able to give someone “that shot”.
How awesome is analogue?
* These images are -not- mine, obviously, and sources vary – if you know the photographer of any of these send me an email so they can be credited.