Scooped up from the local surroundings and introduced into the body of his camera, Stephen Gill (UK) created something reminiscent of in-camera photograms - or the regurgitated contents of a giant vacuum cleaner - in which conflict or harmony has been randomly formed in the final image, depending on where the objects landed. He also used a magnifying glass to concentrate the Brighton sunlight onto some of the negatives in order to etch markings directly onto the image. Some of the negatives he dipped in the sea. Through this approach, to clamber aboard the images and be encapsulated in the film emulsion, like objects embedded in amber, he hoped to encourage the spirit of the place. Grappling at the point where intention collided with chance, there was a considerable element of surprise. But what an enjoyable result from working with photography’s weaknesses alongside its subjective descriptive strengths!
Prior to this portfolio we reviewed the book itself, to enjoy a short summary of this magnificent piece of work click here and all will be revealed.