Torsten Grewe (2012) Berlin.
From a series titled ‘Unarmed’. Although not visible in the final Photograph, the sitter is holding a cable release and decides the moment the shutter is fired. Democratising the power which normally belongs exclusively to the photographer.
© John L Morrison
Maxence Villien (2005) Polaroid.
© John L Morrison
5x4 Polaroid study
Using a Sinar 5x4 camera has its challenges but I personally loved seeing the world upside-down and back-to-front on the ground glass screen. This fresh perspective, enables a new way of seeing, allowing you to spot patterns invisible to the eye when everything is the right way round.
Mena Vieira © John L Morrison 5x4 Polaroid study
Damian Ucieda
© John L Morrison
5x4 Polaroid study
Mattias Fredrik Josefsson
© John L Morrison
5x4 Polaroid study
Julien Voisine
© John L Morrison
5x4 Polaroid study
Ahmed Burwaiss
© John L Morrison
6x6 Kodak Technical Pan 25
The superfine detail and rich contrast of this ISO 25 film is something I have not been able to recreate with digital cameras.
It is a sad reality that 10 years ago you could produce photographs which are technically superior than what is possible with todays digital cameras. I lament films which are no longer manufactured like Fuji’s amazing NPL. It produced exceptional colour and tonal detail in artificial lighting, even with exposures exceeding one hour.
Adrift (2002) c-type. Zurich, Switzerland.
© John L Morrison
Taken from a bridge over the Limmat in the city centre, shortly after it exits a hydro electric power station.