View allAll Photos Tagged FerraniaSolaris400,
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Shot on Ferrania Solaris 400 at EI 400
Color negative film in 35mm format
Lomography Sprocket Rocket
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More at:
emulsive.org/photography/35mm-format/outpost-shot-on-ferr...
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#film, #filmphotography, #believeinfilm, #2018January, #35MmFormatFilm, #EI400, #EMULSIVEDailyPhoto, #Ferrania, #FerraniaSolaris400, #FilmFerrania, #ISO400, #Lomography, #LomographySprocketRocket, #35mmformat, #Photography
First of all, it’s necessary to say about one important thing, related to my work: it is primarily intuitive and only then - conscious (although last six months I’ve been working on shortening the gap between these two poles or at least trying to connect them by the hanging bridge). That’s why I canceled a Q&A style interview and decided to construct it by myself, inconsistently expounding certain thoughts and facts, whose summation could be a key to understanding of my work (it’s especially actual seeing that it’s become obvious to me relatively recently and due to perspective of my upcoming personal exhibition).
Secondly, I’d like to draw a parallel with one well-known (and quite monotonous, however, like any other) profession, which is formally (outwardly) very similar to mine. That’s the profession of a gold prospector, a man, who passes kilograms (and over the years - tons) of dirt, shapeless dark mass, through a sieve for the sole purpose: to see and extract the small shiny grains, to separate them from that viscous slop.
This raises the question about the aim (the internal part) of that profession and its difference from mine. I’ll immediately give you an answer (to my thinking, the reader needs no further information to get a grasp of the external part and the comparison of the gold prospector’s tool - the sieve-hand and the tool of mine - the camera-eye).
The prospector’s aspirations are quite clear and the result of his work is measured by the quantity of picked golden grains and exchange rate between a gram of gold and a dollar at the moment of the transaction. In my case they are strictly personal, subjective valuables, whose pricing or searching for practical usage aren’t considered as the purpose of work, these factors are somewhere far beyond its system (though they aren’t excluded) and considered to be secondary (or even side).
Another important point is that the gold prospector has working and non-working time and for me this state of search is permanent, over the past four years I’ve never parted with my camera - it’s always in my backpack.
The main purpose of my work is the creation of alternative reality, the universe of my perception, each new picture - one more piece “from there”, one more opportunity to peek through the keyhole of the tightly locked door or to look in someone’s lighted window when it’s already deep blue twilight outside and, for some reason, the curtains are still opened so you can see everything that happens in there, and perhaps, being nimble enough, catch by the camera this warm and flooded with yellow light scene, by chance available for contemplation.
It’s obvious, that even it’s possible to get in there, the sacredness of the moment of contemplating of something forbidden will get lost (although it would be weird enough to knock at stranger’s door and ask to come in). Being inside will be utterly pointless, there is a huge metaphysical abyss between the perception, the feeling and such a simple action, you’ll just get into another room similar to the hundreds of other rooms, which you’ve already visited.
Now then, I’m interested in the very moment between the perception and the attempt to get in touch with it, that is doomed to failure; we can be in either one or the other state, or in between, but not in both, I’m right interested in that very one, the interim state. My pictures are just shiny, colorful shards of these states, the states of awe of the seen, as though they were the shards of some beautiful vases.
On the one hand, there’s no point to collect the fragments of the different vases, being unable to glue them together and get the whole, the original vase; on the other hand, even collecting all the pieces of one vase and glueing them together, we wouldn’t get the whole vase, the one that was initially, it would be just glued from the different sharps vase, that would only seem to be whole.
At the same time, having the only one little fragment of vase, we can imagine what it was like before it was broken and became a bunch of garbage; we can give rein to our imagination and figure much more beautiful vase, sparkling with its glaze and covered with the elegant patterns, instead of that cracked and muddy one, which we’ll get after some simple manipulations with the shards and glue…
I’ve said enough, perhaps even too much, the additional comments are excessive.
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