The Camera Obscura is an ancient concept of a darkened room with an opening allowing light to pass through. This light projects the outside world upside down and back to front and in all its glory on the walls inside the camera.
Andrew has been refining his practice of making and documenting camera obscuras and examples can be seen below.
A crowdfunding page has been established to explore funding this project: https://www.gofundme.com/obscura-cityscapes-of-portsmouth
A new, on going project, with an abstract approach to the calming act of ‘Shinrin Yoku’ or ‘Forest Bathing’. These slow exposure panning images create a different feel to photography and its use to document the world around us.
As part of an ongoing exploration of the non-place I am closing in on several categories of space. The view is to create a typology of non-place. A photographic record of the world around us. A world which we frequent on a regular basis but rarely think of as anything special.
In this particular instance I visited a 24 hour car park in the city of Portsmouth. Car parks at night have always been photographically attractive to me and I’ve often referred to them as ‘playgrounds of light’.
The car park in question has motion activated lighting, so as to save on energy bills. This feeds directly in to the notion of place and space. This mundane of structures stands in the darkness while disused but springs to life when the motion lights are triggered. This illumination converts that place in to a space with the presence of humans. The presence of a purpose.
A mini series studying the beauty and typology of the Doors of Lombard Street, a Street in Old Portsmouth, England
As part of an on going exploration of the relation between Life, Death and Photography, Andrew photographed the partially cleared home of his late grandparents.
The exploration, in this case, sought to document areas that trigger personal memories. From the living room where the whole family would cram in to for Christmas present opening to the chair the cousins would fight over.
Further to these personal memories come elements which all of us can connect with on a level. The difference between a worn carpet compared to where the bed once stood. The decay as part of a house which was a struggle to keep. The garden which was once a center of great pride, sitting unloved and rotting.
Secret Dockyard was a photographic project during 2011 to 2012 documenting the conservation areas of Boathouse No4 in the Historic Dockyard, Portsmouth. A historical structure in its own right, Boathouse No4 was a key part in preparations for D-Day and other aspects of World War Two.
The aim of the project was to show these otherwise unseen areas so they could be accessible to the public through photography. The photographs themselves serve as a preservation of the areas, documenting them for generations to come. The series was shot using large format 10×8″ black and white film and a series of fibre based contact prints which were treated using selenium. The process of the fibre based prints and the selenium helps to preserve the photographs for as long as possible.
Through exhibition, Secret Dockyard was presented in cabinets with a glass lid. The cabinet serving as the walls of the museum with the artifacts inside. A large print of an overview of Boathouse No4 featured above the cabinets as the facade to a museum does from the street it is on.
A photographic investigation of non-place and the sanctuary provided by the A Road Petrol Station. Emerging from the darkness of the long nights drive, they give us shelter, food and water.
All images photographed using a 5×4 large format technical camera on Kodak Portra 160.