FORM|ETHER

DRAMATIC
CHANGE
OF
FORTUNE

cover photograph for side 3 and 4 of the dramatic change of fortune lp album by nottingham based mc rapper cappo which was released on ynr productions in 2016. photographed by matt johnson in nottingham in june 2015.
nottingham based mc rapper cappo photographed for the dramatic change of fortune album lp released on ynr productions in 2016
cappo photographed in nottingham for his album lp artwork series for dramatic change of fortune in 2015

Nottingham, June 2015

Dramatic Change of Fortune.


CONTAX T2 / NIKON F5 / NIKKOR 24mm F2
+ KODAK TRI-X / KODAK PORTRA 160
+ PYROCAT HD 1:1:250 / C41

Featured on the cover of side 3 & 4 of the LP and CD artwork.
Released on YNR Productions in 2016.

BILLY
GREEN
IS
DEAD

an outake from the photographic shoot with jehst for the billy green is dead lp album cover. photographed in Manchester UK by matt johnsonat the now dertelict and aptly named billy greens pub
an image of the gate fold of the 12 inch inner cover of the billy green is dead lp album cover. photographed by matt johnson in manchester in september 2016 at the derelict and aptly named billy greens pub
an outake from the photographic shoot with jehst for the billy green is dead lp album cover. photographed in Manchester UK by matt johnsonat the now dertelict and aptly named billy greens pub

Manchester, September 2016

Billy Green is Dead.


CONTAX T2 / NIKON F5 / NIKKOR 24mm F2
+ KODAK PORTRA 160
+ C41

Featured as the gate fold image of the 12" LP and CD artwork.
Released on YNR Productions in 2017.

KUBRICK
LP
TRACK
VIDEO

an outake from the photographic shoot with jehst for the billy green is dead lp album cover. photographed in Manchester UK by matt johnsonat the now dertelict and aptly named billy greens pub
out take image from the shoot with stig of the dump whilst documenting the making of the video for the kubrick title track video for the lp and album called kubrick
photograph of stig of the dump re-enacting the role of alex delarge in the opening scene of the film A Clockwork Orange by stanley kubrick. This sequence was recreated for the kubrick album created by stig of the dump and released on lewis recordings in late 2015
a photograph of jehst reenacting the role of gunnery drill sergeant hartman in the boot camp from the stanley kubrick film called full metal jacket. The scene was reenacted for the making of the track video for the album jehst collaborated on with stig entitled kubrick, an ode to the film maker stanley kubrick
a photograph of jehst reenacting the role of jack torrence from the famous scene where jack breaks down the bathroom door with an axe from the stanley kubrick film the shining. The scene was reenacted for the making of the track video called kubrick off of the album jehst collaborated on with stig of the dump entitled kubrick, released on lewis recordings in 2015

photographed in London in 2015 alongside Jokerspack Productions..


..for the making of the title track video

Kubrick

Released on Lewis Recordings in 2015.

PRESS
PROMO

a black and white photograph taken at the lifelong audio studio in dalston, london in 2013. the image shows gg peney whilst working with jimmy james on their collaboration called

GG Peney

, London 2014

a black and white photograph of noname, gg peney and jimmy james of Lifelong Audio taken on the regents canal in dalston, london in 2014 for their use in online artist and label promotion.

Lifelong Audio, London 2014

a black and white photograph of Noname an artist affiliated to Lifelong Audio and at the time the image was taken at ynr productions he was working with Delta MC on live and recorded projects

Noname, London 2015

a black and white photograph of noname affiliated artist to the lifelong audio label. The photograph shows noname fixing the MPC at the lifelong audio studio in dalston, london in 2014

Noname + the MPC, London 2015

a black and white photograph of jimmy james recording the lyrics for track number 10 off of the collaboration with gg peney entitled 'the further misadventures of'. The image was taken at the lifelong audio studio in dalston , london in 2014.

Jimmy James + "Setting Sun", London 2013

a black and white portrait photograph of jimmy james from lifelong audio taken at the lifelong studio in dalston, london in 2013

London 2013

a black and white location photograph of lifelong audio artists gg peney and karl sage. The photograph show both artists reflected in a broken mirror on a backstreet yard somewhere in hackney, london in 2014

GG Peney & Karl Sage, London 2014

a black and white portrait photograph of confucius mc taken at the ynr productions studio in forest hill, london in 2015

Confucius MC, Forest Hill, London 2014

a black and white photograph of the artist called skams twice taken at the ynr productions studio in forest hill, london in 2014. This was the first image i ever took whilst working with ynr

Skams Twice, Forest Hill, London 2014

a black and white photograph of stig of the dump at the ynr productions studio lab in forest hill, london in 2014. This image was used in the Bonafide Mag online official leak of the Kubrick LP relesed on Lewis Recordings in late 2015, another project I was involved in photographing.

Stig & Fuji + Bonafide

stig of the dump for bonafide magazine 2015 hype for the kubrick release on lewis recordings
a black and white photograph of jehst and kashmere yaken at the ynr productions studio in forest hill, london durting the making of the video for the release called dolph lundgren which was released as a hype for the uk tour that jehst and kashmere embarked on in nov 2014.
a black and white photograph of jehst during the making of the video for the pre-tour release of the track called dolph lundgren. The track was released just before the uk tour that jehst and kashmere embarked on in nov 2014

Kashmere and Jehst + Dolph Lundgren

Various photographs from between 2013 - 2015.

LITH

a hand printed chemical darkroom lith print.
a hand printed chemical darkroom lith print.
a hand printed chemical darkroom lith print.
a hand printed chemical darkroom lith print.
a hand printed chemical darkroom lith print.
a hand printed chemical darkroom lith print.
a hand printed chemical darkroom lith print.
a hand printed chemical darkroom lith print.
a hand printed chemical darkroom lith print.
a hand printed chemical darkroom lith print.


..the dark infectious lith printing process

..with old brown + pyro
+ selenium.

lith is an infectious process, the bromide paper is over-exposed under the white light so the invisible image on the paper is a essentially a black block. The shadows are governed by agitation in the developer.. as the paper is agitated the blacks begin to 'come through', but as they do the process speeds up and the blacks begin to show and solidify at a faster and faster rate in relation to the gradation of the various mid-tones.


PYRO


    Stock Solution A



  • Distilled Water 750 ml
  • Sodioum Metabisulfite 10 g
  • Pyrocatechin 50 g
  • Phenidone* 2 g
  • Potassium Bromide 1 g
  • Distilled water to make 1000 ml


  • Stock Solution B



  • Distilled Water 700 ml
  • Potassium Carbonate 750 g
  • Distilled water to make 1000 ml


Advocates of pyro claim the benefits of pyrocatechol film developers lie in the chemicals ability to increase highlight separation, sharpness and acutance. I mixed working solutions of 1:1:250, 1 part stock solution A to 1 part stock solution B to 250ml of water, so for every 35mm film roll I would mix 500ml of working solution to give enough to completely submerge the film. The working solutions were more diluted than working solutions I had previously used with other chemicals such as Rodinal where in most cases I was mixing 1:9. I was also increasing development time to between 45 and 60 minutes with no agitation, to allow only time to develop the film rather than time plus agitation.

Lith being an infection process of development/ printing (the spreading of silver development beyond the exact image boundaries), I was interested to see if the pyro balanced in certain ways the infectious development process of lith.

Pyro tanning of the negatives gelatin acts as a variable contrast filter which helps to reduce printing contrast. I was interested to see if this quality of pyro complimented my preference for high contrast lith.

Adding selenium toner into the process gives an orange colouration to the image through it's reaction to the bromide in the Foma paper. It also adds a grey tone into the highlights that compliments that orange colouration.

It was really an experiment into trying to balance aspects of my photographic chemical process and methodology through trying to visualize the subjective outcome by understanding to a greater degree how the objective elements such as the chemicals interacted.

PROCESS//
CONTACT//
SEE/FORTY/ONE

... darkrooms and processing are what informed me the most about photography..the science of the process, the space between the compartmentalized elements of the negative or file type, the chemical, the paper, the enlarger and the final image, like a sum or formula where how the numbers make sense depends on how the interaction of those numbers is dictated by the mathematical symbols..
..I like printing contact sheets. I would shoot rolls of film as a sequence of images, with the idea of printing a contact sheet where the sequence from frame to frame form a narrative and the contact was that visualized moving still image...
light is energy, a propagation of oscillations between an electrical field and a magnetic field..it is interesting to consider the idea of how electromagnetic radiation as energy not matter can be transferred through the medium of the photographic process to create an image of that original captured energy..light.. to consider the difference between electromagnetic waves and mechanical waves in process...



.. no sequencing mode on my Contax T2...the feeling of each frame being shot from the eye rather than through a set mechanical function of the programming of the camera.. sequencing modes on the camera allow faster reactions and smoother transitions from frame to frame but I like the feeling of slowing the process down..
...they are a measurement of a consideration where in a moment this pose or that expression will transition from what is on the previous frame and at the same time offer inspiration to visualize what is going to be on the next., it's like the narrative constructs itself with the act of photographing.
..a recollection of the image in my mind attached to the moment that the light was captured through the lens. When I look at one of my photographs it's that image looking through the viewfinder I remember..



Contact sheets form a proactive part of the photographic printing process, to see the images as negative sized thumbnails..the contact for me became the visualized image, with rebates and film branding all part of the image as a whole.. the methodology of how the film was shot as a whole sequential narrative, frame to frame rather than as single, compartmentalized images is part of the visualized contact print, where the shooting methodology is part of the printing process and vice versa...

...'if you don't like the image then you can delete it'?..
..visualization allows you to 'delete' the image before you've taken it.. digital and analogue processes offer scope when combined to evolve process, there was for me an ethereal beauty to analogue process like contact printing..

..and digital processes seemed to free the analogue process, to form a new way of working by combining methodology..
..you can see a revival of analogue process presented on social media platforms like instagram with hash tags like #filmisnotdead,.. analogue process is evolving within the digital processes, production methods and ways of presentation on platforms like Instagram...

a contact sheet shot on medium format film of the beastie boys for the cover of maximum magazine

..Frame 7 is missing because it was the actual image sent to the publishers for the cover shot of Maximum Magazine. The image itself was reversed in print for the benefit of the layout.

I spent 2 years working with Mick Hutson and was assistant photographer on shoots for Metal Hammer magazine. He asked me to archive about 30 boxes of negs and transparencies covering about 25 years into 2 filing cabinets in band and alphabetical order. He offered the contact to me for doing this archiving.
To think that somewhere in the archives of that magazines publishing there is the missing frame from my contact sheet, like a missing piece of a jigsaw puzzle, floating around somewhere, where the incomplete contact sheet continues to tell a more interesting story than if the missing frame were to be returned to it's place as 'frame 7'.

The End of Print + Process


The End of Print by David Carson and Process by A Tomato Project are 2 books that inspired me to write about my processing and thoughts about photography.
I remember the work of David Carson in Transworld and Raygun magazine in the 1990's, his use of colour and photographic images in layouts. I think the discussions in The End of Print about how digital process and the advent of the internet, bearing in mind the book was first edition in 1995, was at the time interestingly speculative, no one could accurately predict how quickly or in what way digital media would change things, now that book seems retrospectively prophetic.
A question of process and adaptation, I would say that one of the most notable benefits of the internet is the ability it gives for individuals to form their own networks and systems... it endorses the notion of self awareness and conscious activity..

...technology changed much for photography,.it has enabled the idea of photography to be a more accessible and universal practice..not just in how photographs are captured but also in how they are shared and presented
..I thought it important to learn at least the foundations of how to write HTML and CSS. When considering programming languages and constructive digital languages like Javascript, HTML and CSS as a kind of evolution to modern languages, they appear to represent a move towards some kind of universal language structure where algorithms bridge the barriers between modern spoken and written languages..

I began using Notepad++,. I learned the basics of the structures and built a site using static HTML and CSS.. which I have rebuilt 2 or 3 times, eventually using CMS and Wordpress..this website, see41.com is the product so far of that process of learning not just the language of HTML and CSS but also the systems of publication, SEO and analytics..a development of the darkroom and chemical processes, a continuation of a journey through process.