Eyes of Nikon

D7200 | AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR | ISO 100 | 1.3 | f/13

Photographer

Stephen Gillスティーブン・ギル

Stephen Gill (b. 1971, Bristol, UK) became interested in photography in his early childhood, thanks to encouragement from his father and an obsession with insects and inspecting pond life under his microscope. Gill has emerged as a major force in British photography, and his work has been exhibited by major international institutions including London’s National Portrait Gallery, the Tate Gallery, the Victoria and Albert Museum, Somerset House, the Photographers’ Gallery, Victoria Miro Gallery, Leighton House Museum, Haus Der Kunst, Palais des Beaux Arts, Gun Gallery, the Sprengel Museum, Foam Amsterdam, the Toronto Photography Festival, PHotoEspaña and Recontres d’Arles. http://www.stephengill.co.uk

Photographer's Eye

Ash Series
Photographs by Stephen Gill
The images in this series were made in southern Sweden, and are an attempt to express and evoke the essence of a specific location without relying on description alone. I have been experimenting with this approach since 2005, when I first began to consciously harness and encourage “accidents” to help arouse the spirit of my subject and convey the feelings and frame of mind that it generates in ways other than direct capture.
These images were made in several stages, all of which involved manual intervention, including the addition of elements to the scene. I find the process of adding and obscuring elements in the making of a work to be a powerful way to describe and reveal the underlying character of the subject. The confusion of scale introduced by the added ingredients helps by conveying a sense of dissociation or dislocation which can prompt the viewer to engage in response. The main element I introduced to this series was wood ash – the soft grey powder residue left by burning wood in a home fireplace. These small particles became like image ingredients. Sometimes I also added other elements or even cracked brittle photographic print emulsion to the surface of a print after printing the image and then photographed it for a second time.
Normally I would use an analogue camera for works like these, and I have rarely used a digital camera for my work before, and never a zoom lens. In the event I did not go much below 40mm or above 55mm with the zoom, but I found the lens,AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR, good for both the initial capture of the base images, where it retained the clarity I required, and later when I re-photographed on macro with the same lens – again, the contrast and clarity was good right to the edge of the images.

Work of Stephen Gill