Hola, troopers. Huge apologies (again – it seems I’m always apologising for some kind of hiatus this Semester) for my radio silence – though I’m sure you have all been keeping up both with the Kardashians and my Instagram (clearly not mutually exclusive events) throughout my frenzied exhibiting, styling and high-heeling activities throughout Mercedes Benz Fashion Week Australia. More on all of that later. For now, back to the darkroom.
There’s something beautiful about waiting. Not waiting in the Sydney storm traffic on my way to Uni today. Not waiting for your marks on an assignment. Not even waiting for your Romeo to come around (don’t do that – hunt your Romeo down). In our vain attempt to make life more logistically convenient, we’ve overcomplicated very simple processes. Certainly, smart phones make photography much more accessible to your Jane and Joe on the block, but you might say that all its millions of apps, its filters and camera options have contaminated what was once such a down-the-line craft. The same could be said for DSLRs. This is not to say that I’m both feet in that camp at all – I’m all for a 320 frame per second situation.
But I’ll say it again – there really is something beautiful about waiting. Waiting for your negatives to come back from the lab, that is.
I rarely shoot film during Fashion Week. In fact, prior to last week, I don’t think I had shot runway on analog since my first Australian Fashion Week five or so years ago, when I was yet to purchase a DSLR. That year, presentations and painfully slow show music accompanied by smoke machines were the cool thing to do, so Gemma Ward powering on a mission to the end of the runway was not so much of a motion blur problem. The following year, armed with all my pennies in a 7D, I found myself shooting hundreds of images of the one look, and hating myself in the selection process afterward. The year after that (and every Fashion Week since), I have scrutinised every image I shoot at the expense of immersively experiencing the show as the designer intended. Instead, I was doing the equivalent of screenshot-ing a livestream of the show from home. That absence seems to strip the soul from images. You haven’t truly captured what you love – just what you could. Just because.
Shot 1: Australian Ballet dancers preceding ELLERY’s show
Shot 2: Marthe Wiggers backstage at Romance Was Born
Shot 3: Alice Morgan backstage at Romance Was Born – cosmic cowboy edition
Shot 4: Charlee Fraser backstage at Akira’s 20 year retrospective show
Shot 5: Toni Maticevski’s dreamscape
Shot 6: Gemma Ward opening ELLERY’s show
See my full roll of film at 10 magazine’s site and keep an eye out for more fashion week content from both Australia and international shows very soon (i.e. as soon as I hand in my Admin and Sociological Theories assignments…)
SOURCE: Shine By Three – Read entire story here.