“I love it when photographs do more than look good. I love it when they serve a purpose, in exploring or reflecting upon a point in the artist’s life” Todd Hido.
5 years into existence FotoFilmic is excited to launch a new ambitious SOLO EXHIBITION AWARDS series of juried international calls and publications for emerging and mid’ career film and analogue photographers ready to break new ground and take their most accomplished work to contemporary photography industry’s public eye!
Each SOLO Call for Entries is juried by a different influential figure in the field giving some of today’s most renowned photographers the opportunity to directly mentor the next generation of photographic artists working on film and analogically!
All SOLO EXHIBITION AWARDS Winners are published in a new printed collection of SOLO Catalogues with forewords by their respective jurors, and are also the subject of multiple other web publications including dedicated FILM TALKS interviews. Runners-Up get published online as part of SOLO Exhibition pages.
The first SOLO EXHIBITION AWARD was juried in September by beloved San Francisco photographer Todd Hido!
Juror Todd Hido spent a week delving into the many applications received from 10 countries (USA, Canada, China, UK, Germany, Iceland, Australia, Lithuania, Sweden & Belgium) in search for the highest caliber undiscovered body of work able to touch him both emotionally and intellectually while connecting with his own insatiable quest for powerful photographic narratives rooted in atmospheric aesthetics and cinematic wander.
We’re thrilled to present here as a result the work of SOLO Winner and Los Angeles photographer Jill Beth Hannes to be exhibited Saturday 14-December 3, 2017 at the FotoFilmic//PULP Gallery in Vancouver, BC (Bowen Island)! We’re equally proud to introduce along SOLO Runners-Up Kristen Bartley & wet plate photographer Jacqueline Roberts whose respective works also deeply resonated with Todd Hido!
WINNER & EXHIBITOR: JILL BETH HANNES
Todd Hido: foreword on the work of Jill Beth Hannes
“When I first came across Jill Beth Hannes’s image of the two blond women looking quite identical, interacting with one another in a way that is unspecified, it is one of those moments of photography that anyone would have been lucky to shepherd into the world. I very rarely care about what people have to say about their work, and judge their images solely on my impression of the photograph. Without any of the language or background the artist has to give. However, after choosing this work based on the fact that it looks fantastic, I am delighted to see that some of the themes that I was getting from Miss. Hannes work were actually what she was intending on sharing.
Apparently, Miss. Hannes made this work once she became sober and I bring this up because I love it when photographs do more than look good. I love it when they serve a purpose, in exploring or reflecting upon a point in the artists life where they may have been vulnerable. The feeling of isolation, confusion, and longing are things that I saw in this work the moment I looked at it. Those go along with a very important sentence that Miss Hannes states about this moment in her life, she says “It’s like life on pause for just a moment, before beginning anew.” In a curious way that makes each and every one of these images a purposeful creation. Not every image in the world that’s good has to be that way, however when you add that extra layer of meaning to it, it really seems to make them rise up.”
Jill Beth Hannes graduated from The Academy of Art University in 2010 with a BFA in photography. She started taking photographs in elementary school when she was given a disposable camera for a class project. She’s been obsessed with creating images ever since. Her work is cinematic, dream-like and most images stem from a personal experience. She was recently shortlisted for the Next Photographer Award by D&AD. Her work has been published in publications around the world including GUP, VICE, The Wild Magazine, Schön, The Photographic Journal and Contributor. She lives and works in Los Angeles, California.
Strange Women is an ongoing personal project I started in 2010 while becoming sober. I struggled greatly with the concept of identity and my own identity. Fear of the unknown world that I was about to enter into was something that I wanted to capture. The feeling of isolation, confusion, anger , and longing to belong. Each image is haunting and cinematic. Life on pause for just a moment before beginning a new. My intention for the viewer is to relate to the feeling of fear and vulnerability I felt and still do as I journey through self discovery.
I can be very self-critical when I shoot. Shooting film allows me to stay in the moment, and forces me to be very precise with the shot and that plays into each character that I portray. Also the imperfection of film ties right into part of the message of Strange Women. I’m also a big fan of the process of film; from shooting to final files.
Follow Jill on Instagram @jillbethhannes
RUNNER UP: KRISTEN BARTLEY
I am Texas bred, but have called Brooklyn home for the past decade (so I think that makes me an official New Yorker) where I work as a teaching assistant at the International Center of Photography, a private film photography tutor, and moonlight on weekends as a bartender. I am mostly self-taught and work exclusively in film.
I started this body of work four years ago while my father was succumbing to a long battle with cancer. Shortly after his passing, my mother was also diagnosed and died not long after. Initially, I thought this project was going to be about them and my sister and our shared experience throughout the aftermath. As time went on however, my sister and I began traveling down very different roads. The relationship with my long-term girlfriend swiftly unraveled while my sister began to settle into domesticity. The more I photographed, the more I came to realize that the photographs are really about me and my desire to find any remnants of intimacy within my daily life during this period of massive uprooting.
I could easily write a twenty page essay detailing how film is an essential element to the work I make, but for the sake of this tiny box, I will keep it brief. To start off, using film forces me work in a more intuitive and organic way. After I take a photograph, I never know when I will get around to developing it, much less get around to scanning it. Once I click the shutter, that’s it, I don’t get sucked into that one photograph and immediately start critiquing it or forming a particular narrative in my mind around it, I simply let it go. As a result, I find that I am more open to the unexpected and in tune with my subconscious. I also choose to use film for aesthetic reasons. Both my father and grandfather were prolific photographers and the photographs they left behind are a major influence in my work. Since of lot of my work is a meditation on the past, I want my photographs to have an air of nostalgia around them. I want them to be equally as enchanting as the ones I grew up looking at in family photo albums. I find it much easier to replicate those qualities with film as opposed to digital capture.
Follow Kristen on Instagram @kristenbartley
RUNNER UP: JACQUELINE ROBERTS
Born in Paris in 1969, Spanish photographer Jacqueline Roberts graduated in Political Sciences and worked for international organisations before turning to photography. Jacqueline works with large format cameras using early photographic processes. Her work has won several awards and has been exhibited in Europe as well as internationally. The Royal Photographic Society recently acquired one of her “Nebula” plates to enter their permanent collection, hosted by the Victorian and Albert Museum in London. She has published three books; her fourth monograph “Nebula” was released in 2016 by Italian art publisher Damiani.
“Nebula” are portraits that I make on glass and metal plates. I use an old photographic technique called wet plate collodion. This process was the primary photographic method from the early 1850s until the late 1880s. It was introduced in 1851 by Englishman Frederick Scott Archer in 1851 and consists of coating a plate with collodion that is sensitised in silver nitrate. You then expose the plate, still wet, develop it and fix it. It is crucial to go through the whole process while the plate is still wet, as once the collodion film has dried it will not react to the solutions. The result is a negative image on a glass plate that, when backed with a dark background, forms what we call an Ambrotype, derived from the Greek word for ‘immortal’. Alternatively, on a black lacquered metal plate, the image appears directly as a positive. Collodion’s unique aesthetic produces timeless and ethereal images … Each plate is unique.
An essential aspect in my work is to pause and take the time to create an image. My portraits are about that, time. Time passed. Time elapsed. Time suspended. Time ahead or behind us. The portraits from the series “Nebula” required long exposures which eased the sitters into detaching themselves from their immediate surrounds, as if suspended in time and in space. The individuals in these portraits are neither children, nor adolescents. I wanted their portraits to emerge from that state of limbo to evoke the transitional stage that they are going through. “Nebula”, Latin for mist, reflects on the turmoil of growing up with all its relational, psychological and emotional changes.
For me, making wet plates goes beyond the photographic process itself. It is a sort of inner process too. A state of mind. In today’s digital world we are swamped with images. If we look back, photographs used to be some of our most prized possessions, treasures that we would save from a house on fire. I feel that we are losing the emotional connection with photographs. Most of the images that we take, have become meaningless and disposable. I want the image to be precious again. I look for images that are unique, that hold value. Images to remember and preserve. I believe that engaging with the sitter and capturing emotion in a portrait is essential to how I approach photography. Other aspects, such as a sense of aesthetics, composition, contingent metaphors, pictorial references or intimacy, are fundamental too to transcend the portrait and look for the “greatness of inner”, to borrow Julia Margaret Cameron’s words. All these are features that I pursue in my work.
Follow Jacqueline on Instagram @_jacquelineroberts_