03 Frame academy

Play with time and mul­ti­ple mean­ings

Digital Camera World - - 10 THINGS ... TO TRY RIGHT NOW -

There’s more to panoramic pho­tog­ra­phy than yet another long thin shot of Dur­dle Door. Dan­ish pho­tog­ra­pher An­dreas Ole­sen has won crit­i­cal ac­claim for his enig­matic ‘Su­per­po­si­tion’ project, which he has been work­ing on for nearly 12 years.

“It started when I was given an Olym­pus PEN D half-frame cam­era by a friend, and I be­gan mak­ing panoramic land­scape images with three-to-five frames per im­age,” he says.

“I was re­ally at­tracted to the aes­thetic of panora­mas com­posed of sev­eral frames, and I had my first solo show in 2006 with those images. Then I started to think about the in­ter­est­ing as­pects of the for­mat over a sin­gle-frame im­age, and I re­alised that there was the per­fect chance to play with ideas about time in pho­tog­ra­phy, as well as ex­pand­ing the scope of the im­age to in­clude more frames. I bought an old PEN F half-frame SLR and an adap­tor so I could use my Nikon lenses, which would give me the abil­ity to con­struct much larger images.”

Get started to­day

* An­dreas uses a film cam­era, but his multi-frame tech­nique can work just as well with dig­i­tal tech­nol­ogy. * An­dreas draws in­spi­ra­tion from the aes­thetic of the neg­a­tive. “The black images be­tween the frames are the ac­tual blank space be­tween shots on the roll of film. Each im­age is ti­tled with the amount of time there is be­tween the dif­fer­ent shots that make up the im­age.” Why not ar­range your images on grids in Pho­to­shop to see if you can achieve a sim­i­lar ef­fect? * This kind of fine-art project takes pa­tience and per­se­ver­ance. “It comes down to con­stantly hon­ing your craft, and you need to get used to re­jec­tion too, es­pe­cially when ap­proach­ing gal­leries or im­age buy­ers.”

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