Photographic images by David Holmes for the 'Collective Exchange' exhibition London, 2012.
My photography involves the practice of compound camera movements to create unique renditions of objects and environments. I use the camera to simultaneously capture and manipulate an image, combining long exposure times with intentional camera movement (ICM) to generate new forms, colours, and textures. I do this to express the fusion of my inner and outer worlds at the point where mind meets matter. The resulting work is as much a documentation of the artistic photographic process as it is any external reality.
I intend to make images that are open to multiple interpretations, where the subject matter may be seen as analogous to something else. When visualizing architecture this ambiguity leads to a reassessment of the facts and the clarity to freely associate beyond the boundaries of the original design. Viewers are encouraged to question their own vision and inner responses.
Everyday at dusk the urban lightscape dynamically reignites. The interplay of electric light and natural atmosphere is never the same twice and the view is constantly changing. Within this environmental dance are man-made events taking place both randomly and with precision timing. As a photographer I tune in to these events and note the promising behaviours, changes and conditions.
For example the green display light at the top of Big Ben switches off around midnight making photography of the isolated clock face much easier. There is also less ambient light from traffic and shops during the early hours of the morning. At other times there may be an abundant flow of people to focus on or interesting activity from wildlife. The city is fertile ground for serendipitous discoveries.
During night photography the length of exposure is determined by my physical and mental senses, intuitively. The camera is operated in manual ‘bulb’ exposure mode and I decide when to open and close the shutter as the camera is being moved, like recording a very short movie within a frozen frame.
There are elements of emotion and performance experienced during the image creation analogous to playing a musical instrument. One may think of the camera as a conductor’s baton, both recording and directing the compound articulation, rhythm, intensity, and shape of the composition. My hand gestures are the primary means of conveying visual ideas, combined with critical evaluation.
Lenses: Nikon 18-105mm f/3.5-5.6G DX ED VR AF-S; Nikon 50mm F1.8G AF-S; various vintage lenses.
Computer: Samsung RV511 laptop computer, Dell Monitor.
Software: Adobe Photoshop CS5 with various plugins.
All main creative image manipulations take place in camera, in real-time on location.
Minor post-processing adjustments for display and print are made in Camera Raw/Photoshop.
The project aimed to develop critical thinking around the members’ artistic practice through the process of researching and developing new artwork.