As I’ve mentioned in previous posts I don’t get out much these days to photograph. Stupid reasons such as I work out of town, I leave early in the morning and get home late, it’s dark and I’ve had a trapped nerve in my left shoulder/arm/hand that has seriously crippled me for over a month now.
I haven’t ‘seriously’ photographed for months and months now, other than family stuff, but I’ve managed to find a new subject to photograph and it turns out to be me … driving to hell.
I’ve been photographing while driving for a good while now but this current photographic trend started off with me trying to capture traditional photographic scenes, when the daylight was around to offer up such an image, but now with the light firmly gone during almost every journey it’s now beyond what I’m able to do nor what I’m even interested in anymore.
I started to build onto this new visual aesthetic in October when I went up north for my parents 50th anniversary …
I turned to the desire of wanting to capturing a moment over time except not a compressed moment on a tripod in a single flat scene but with a handheld camera over time from my moving car. I experimented more with time by introducing the flash which enabled me to clearly capture a flat fragment from within that time slot clearly while still continuously recording over and around it.
I’m not entirely sure what they mean yet, I’m still working on it psychologically, but the dark mornings are visually interesting and I like the idea of trying to capture multiple facets of a moment or landscape in one frame over time like the feeling I get from looking at paintings by Cy Twombly.
I’m normally photographing around 6.45am because I’ve not been able to sleep well at all with my shoulder/arm nerve pains. Perhaps the sleep deprivation has had more influence over this than expected (?).
I’ve made many repeat images but I wonder if that’s been influenced by listening to Squarepusher‘s Selection Sixteen album on repeat in my car for a month but to be honest it’s really only been one track, Ceephax Mix, on loop; so much so it’s now my daughter’s favourite track ever.
Music has influenced me before with painting. For a very long time I was hooked on 50 Cycles from the Ultravisitor album back when I was intensely painting/sketching in 2007/08; I think this reveals an obsessive personal quality I’ve mostly managed to keep hidden.
Along with these landscape exposures I’ve also taken up the self portrait again with exposures between 10 and 30 seconds. Sometimes there can be multiple light sources reflecting off surfaces burning themselves into the frame like solargraphy.
The image burn is over time, albeit a fraction of solargraphy, but it’s still valid and interesting.
I’ve briefly talked about self portraits before in a gallery page, I proposed there that the self portrait is always a ‘lie’ or an act because you’re consciously making the photo you’re guard is automatically up. Making a portrait of someone else can truly be candid because they don’t exactly know when the shutter is being fired but you will (almost) always know your own shutter.
With a long exposure the guard has time to drop but the features will likely melt making the image an abstraction and as the photo abstracts so does its meaning as it enters a state of flux.
These abstract images are an extension of me.
I went ‘off-road’ on Thursday morning of December the 5th when I stopped to photograph by a digger.
Long-ish exposures to capture life in the frame but with a burst of flash to freeze a foreground object ghostly in place.
I don’t believe I suffer from SAD, and despite how much fun I’ve had making these photos, I’m looking forward to brighter mornings and evenings so roll on the brighter days!
This might be the last post I do in 2014 but you never know (what am I saying, I never bloody know!).