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.


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.


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 printing was always the one for me, compared to conventional tray printing it seemed more like painting with chemicals. Lith is a much more fluid way of printing, whereas conventional tray printing attains the tones through a process of deduction using test strips and various calculating methods to balance exposure, filter grade and development time, balance is key to both, it is the methods to gaining balance that are different.


lith is an infectious process, the bromide paper is over-exposed under the white light. 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. This is the 'infectious process'...


... like other processes of chemical printing tones are forged in the enlargers light where the highlights show white without the blacks being either under developed or too dense, whilst retaining mid-tone (although like all printing this is subjective, I always preferred higher contrast lith, I use selenium toner with lith because of the colour it gives through the reaction with the bromide in the paper. It builds a mid-tone cool grey back into the composition)..
the difference with lith comes from an original over-exposure of the image onto paper under the enlargers white light. The invisible image on the paper at the start of development is really a solid black block, all the mid-tones are effectively over exposed to the point of being black. The mid-tone gradation is created at the point that the printer 'pulls the print' rather than as with other printing processes where the mid-tones are worked out through the process of deduction through exposure test strips. I always thought of it like layers of time being layed down on the paper. The darkest areas in print ironically contain the most light, the lightest areas contain, in print process, no light. It's like a negative/ positive dialectic within itself where pulling the print offers the printer the opportunity for involvement into that discussion between light and time., everyone will see the point to pull differently, it's really down to the eye of the printer at that moment!


Lith chemical is also much more unstable than conventional developer, it is mixed to a weaker concentration so oxidation and depletion through the actual printing process happens more quickly, sometimes to the point where print on print are completely different. You can not really control or predict how the same tray of chemical will work from one print to the next, which is what for me was the magic of its fluidity. It forces you to work in a more spontaneous way, print to print and moment to moment, an emphasis entirely on the process. The dev also contains the magic 'old brown', a previously expired and oxidized lith developer that gives lith prints their grainy newspaper quality. if you lith print you are never going to be short of old brown..,


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


original Pyrocat HD formula from sandykingphotography.com


...Sandy Kings photography is the kind of imagery that requires you to reassess what you are looking at. The detail frozen in those images could be easily missed. The photographs and particularly the way the images are created allow time to consider the idea that what I was seeing was not just an image of a landscape but the original light captured and rendered through the mind of the photographer and their process of visualization.


I was interested to experiment with the qualities of pyro developers with lith, to see if I could gain a greater understanding into visualization and process flow. I like high contrast lith printing so using pyro to enhance 'contrast possibilities' as the pyro stain acts as a continuously variable filter might develop my process of printing in new ways. I was also interested to see how the use of pyro could work with it's benefits to acutance and reduction to the effects of 'infectious development' in the infectious lith process. I wanted also to try and apply something of that very considered, meticulous type of process used by Sandy King in his landscape work to images shot in a much faster way on the street.. a slow considered process used in conjunction with a fast reactionary way of shooting photographs.



I found only one place where I could get hold of some stock solution Pyrocat HD, The Photographer's Formulary in the United States.
I worked out that it was not really cost effective for the amount of solution when all things considered including import duties etc, added to that I was not entirely sure being a liquid and a chemical that I could even guarantee it successful delivery so when I found the formula above I decided that it was best to just buy the constituent chemicals and mix it myself.



I found it also more effective to buy a distilling kit to be able to distill my own water, bunsen burner, measuring beakers, digital scales, thermometer and storage bottles for both working and stock solution. I mixed 250ml of both stock A and B and was mixing working solutions of 1:1:250.
I found a weaker solution and longer development times with minimal agitation of the film gave better negs and even pyro tanning. The stocks at that dilution were lasting a long time and started of with a pinkish colouration to them but over time oxidation turned them a brown colour. However I found no reduction in the quality of the neg when I used the older to stock to mix working solutions.