Judy F. Sherrod and S. Gayle Stevens: Nocturnes

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Judy F. Sherrod and S. Gayle Stevens, Nocturnes 2, wet plate collodion pinhole tintype, 20 in x 20 in., 2012

Our Nocturnes series began as an experiment, an adventure, a collaboration. A pinhole camera-maker and a wet-plate collodion artist collaborated to produce mammoth plate tintypes, echoing the work and process of the early survey photographers. Carleton Watkins, William Henry Jackson, and Timothy O’Sullivan, surveying the expansive landscape of the western US, found themselves at the mercy of nature.

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Judy F. Sherrod and S. Gayle Stevens, Nocturnes 1, wet plate collodion pinhole tintype, 20 in x 20 in., 2012

James McNeill Whistler, inspired by the visual melody he found in dark skies and seas, titled many of his paintings nocturnes. In turn, these paintings provided inspiration for the orchestral nocturnes written by Debussy, musical impressions which ebb and flow.

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Judy F. Sherrod and S. Gayle Stevens, Nocturnes 24, wet plate collodion pinhole tintype, 20 in x 20 in., 2012

Inspired by these artists and the waters of the gulf in Pass Christian Mississippi we too found ourselves at the mercy of the tides, our images determined by the capriciousness of the water before us. 

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Judy F. Sherrod and S. Gayle Stevens, Nocturnes 3, wet plate collodion pinhole tintype, 20 in x 20 in., 2012

Because of its infinite depth of field, the pinhole camera conveys the vast expanse of the sea while the collodion-silver emulsion flows across the plate like the waves across the sand. The plates delivered an unexpected serendipity – a daytime nighttime, a sunny moonscape.

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Judy F. Sherrod and S. Gayle Stevens, Nocturnes 11, wet plate collodion pinhole tintype, 20 in x 20 in., 2012

There is ebb and flow between night and day, dark and light, as silent sentinels watch waves writing verse in the sand. This push and pull of tides, this melody of the waves, this lyric creates a visual dialogue that is the inspiration for Nocturnes, a little night music.

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Judy F. Sherrod and S. Gayle Stevens, Nocturnes 21, wet plate collodion pinhole tintype, 20 in x 20 in., 2012

One year ago, Judy Sherrod and S. Gayle Stevens embarked on a new adventure, a collaboration entitled Nocturnes, born of the gulf in Pass Christian, Mississippi. Stevens, a wet plate collodion artist, and Sherrod, a pinhole camera maker, joined together to create something not done before: mammoth plate pinhole wet plate tintypes. They have been very successful at it. Their collaboration has resulted in such publications as South by Southeast magazine and Lenscratch, and will be included in the next edition of Christopher James, The Book of Alternative Photographic Processes. Exhibitions include: Alternative Processes at the Center for Fine Art Photography in Fort Collins, where they were awarded both the Director’s and the Juror’s Honorable Mention, Beheld at Homespace Gallery, Call and Response at New Orleans Photo Alliance Gallery, Center Forward, V at Homespace, Currents 2012 at the Ogden Museum of Southern Art, and Sun to Moon Gallery, among others. Over the course of a year, the duet shot forty-nine twenty-by-twenty inch pinhole tintypes of the gulf.

www.sgaylestevens.com

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Peter Wiklund: Dreamland

These pictures belong to Dreamland I – an ongoing series. One of several Dreamland series, that is. The common feature is that they are landscapes in the grey area between reality and imagination. They are real to some extent, since they are obviously photographed in the real world. But they go beyond the reproduction of nature. The landscapes would appear instead in dreams, or nightmares perhaps.

Peter Wiklund, “Androgynous,” ink jet print, 25×60 cm, 2009

Many of the images are characterized by a combination of beauty and disaster – in a somewhat romantic tradition. The final holocaust, last man standing.

Peter Wiklund, “Heading North,” ink jet print, 25×60 cm, 2009

All of the images are self-portraits. Giving myself the double role of photographer and model gets me more deeply involved in the final result. At the same time, it adds an extra element of chance, since I cannot see the final setup during shooting.

Peter Wiklund, “Hiding,” ink jet print, 25×60 cm, 2009

The first images I took, when starting with the Dreamland series, were uninhabited. I had set out to capture the emotion I got wandering in a forest that had burnt down about ten years earlier. A feeling of having been there before, having seen the same surroundings – though it was the first time there. Like being confronted with reminiscences from dreams.

Peter Wiklund, “Silent Tree,” ink jet print, 25×60 cm, 2009

These images are taken with a special pinhole camera, an anamorphic camera made by Abelson Scope Works. The camera is loaded with film which runs inside a cylinder. On top of the cylinder there is a tiny hole – the pinhole – which lets the light come in. The anamorphic construction makes the landscape somehow “unfold” in the images, adding a sense of surrealism. As in dreams.

Peter Wiklund, “The Attack,” ink jet print, 25×60 cm, 2009

I often work with different pinhole cameras, for several reasons. Most important is the element of chance, giving me images that can be much better than ones I might pre-visualize. A pinhole camera can often be used for making images that are something else than mere reproductions of the subject in front of the camera.

Peter Wiklund, “Light Waves,” ink jet print, 25×60 cm, 2009

Born in 1967, Peter Wiklund lives in Stockholm, where he works as a journalist and photographer. His images are shown in group exhibitions on a regular basis, from the United States to Russia.

www.peterpinhole.com