I bought a second hand Holga back in 2013. I took a few shots in Dartmouth but only finished the film last week at Cresswell Crags. Like my previous analog adventure I was very much trying to mess with the system. I read a good quote earlier this week ( and I paraphrase) “Photography is unique as an art form in that it’s principle elements are light & time”. The only omission here is chance. Even the most technically skilled photographer relies on the vagaries of the moment and hedges his bets by taking multiple images.
My practice for what it is, relies very much on the later and even more so in this set. The 120 film used in the Holga allows for up to 16 shots and my intention was very much to create images that incorporated multiple fleeting impressions. With this as the prime directive and no preview possibilities, chance rules. So, as I’m sure Luke Rhinehart would agree, you choose your weapon, roll the dice and live with the consequence. The only hope is that the vague transforming vision that exists utterly without substance in the mind can translate into the capture of nothingness on film.
As it turns out, other that a little post processing Snapseed editing for sharpness, contrast & grain, these are the images and I’m really quite happy with them. I think they are mysterious and ephemeral exercises in the light/ time/chance juggling. In at least one image two different locations are pulled together almost seamlessly. Like failing memory their resonance ceases to rely on truth or accuracy but on deeper responses. They have the appearance of ‘evidence of ghosts’ pictures or the forensic inquisitions of sci-fi investigations.
A quick thank you to Photo Nottingham who developed the film and Pete who scanned them for me. If you click on the images they will open up to full size.