You can’t get that sort of chance exposure with anything other than film. For instance I love what happens when you take double exposures. Some of which you can only get with film because you literally don’t know what has just been exposed. I also love working with chance, and unexpected results. And even if I could, I’m a sucker for something being ‘real’, so I wouldn’t find the same satisfaction in creating a film effect in post production. And to this day I have never been able to match that look with a digital camera. I find it so simple to create that dreamy, surreal, grainy, gorgeous aesthetic that I love. The way that the colours and tones from film look absolutely perfect straight out of the box. I guess it’s to do with the aesthetic I love, the grain, the nostalgia that the colours of film seem to offer, the slight-softness of the look, the simplicity of it. It was a creeping up thing really, every year I became more and more interested in it.Īnd when I discovered digital, I tried it for a bit, but I could never improve on my images with a digital camera, so I stopped trying in the end. I enjoyed it from the start, but it only became the main focus of my life a few years after. LR: I started shooting film at college, digital was pretty new on the scene back then so film was the thing being taught to young photographers. When did you start shooting film and what drives you to keep shooting today? I love the sea, comedy, open water swimming, and I play a bit of folk music when I’m not working. I work mainly with analogue film within my art practise (although not exclusively) and I also run a commercial product photography business. LR: I’m Lucy, a photographer currently based in a little countryside studio on the outskirts of Bristol, UK. EMULSIVE Interview #227 – I am Lucy Ridges and this is why I shoot film.Ok, so who are you? (the short version, please) I was pretty far outside of my comfort zone, both photographically and in temperature… I was doing an artist residency out there and I had no models, so I started doing self portraiture, which I had never really done before. LR: This is me, laying on a cliff in a little village in Iceland in November 2015. Warning: many of the photographs on this page are not safe for work, so you should proceed with that in mind. Our readers have come to expect excellence from our products, and they can count on us to maintain a commitment to producing rigorous and innovative information products in whatever forms the future of publishing may bring.Over 500 people have signed up for EMULSIVE Santa 2021, the world's largest annual film/traditional photography gift exchange! Time is short, click here to register by October 31st. Through our commitment to new products-whether digital journals or entirely new forms of communication-we have continued to look for the most efficient and effective means to serve our readership. Since the late 1960s, we have experimented with generation after generation of electronic publishing tools. The Press's enthusiasm for innovation is reflected in our continuing exploration of this frontier. We were among the first university presses to offer titles electronically and we continue to adopt technologies that allow us to better support the scholarly mission and disseminate our content widely. Among other findings, the artists used fewer strokes and rendered more abstract portraits when they drew with a model present than when they drew from memory, and the portraits rated more abstract were also rated more pleasing and interesting.Īmong the largest university presses in the world, The MIT Press publishes over 200 new books each year along with 30 journals in the arts and humanities, economics, international affairs, history, political science, science and technology along with other disciplines. Also, the portraits were rated in terms of pleasingness, interestingness and the degree of abstraction and distortion. The amount of attention devoted to 22 different areas of the face and abstraction and distortion in the rendering of facial features were computed from the videotapes and statistically analyzed.
In this exploratory micro-analysis, professional and skilled amateur portraitists were videotaped while they drew portraits under six different experimental conditions, defined by time allotted to complete the work and the presence versus memory-recall of the models during the drawing phase. The author reports the results of applying a new empirical methodology, and related psychological constructs, to portraiture in order to elucidate issues of representation, schema application, abstraction and distortion in the creative process, as it unfolds in vivo.