A “Another Life” test photo taken with a Sony RX10 Mark 2 camera. Photo by Anuruddha Lokuhapuarachchi
“Photography is not what I see, it is what I feel. If you do not feel what you see, others will feel nothing when you look at your pictures. ” – Don McLean
Genesis is the most unique and historical process in the universe and has been the subject of works of art since ancient times. My expression in the “Another Life” photo here is the interpretation of the first stage of the birth process between 8-10 minutes.
At that point in the birth process, the mother’s body can no longer reach the baby’s food supply, causing contractions in the mother, which softens the baby’s cervical tissues by releasing the hormone oxytocin. The pressure of those contractions releases amniotic fluid around the fetus. In simple terms, this is referred to as “water bag breaks”. Giving birth to a baby is a painful moment for a mother but in the end she experiences the beauty of giving birth to another creature. It was a positive change that brought new hope to her life.
According to some Western beliefs, dreaming of a bell pepper is a sign of a positive change in life. Considering this social belief and the shape of the vegetable, I went to the grocery store and chose this bell pepper to bring my concept to life. According to those beliefs, the bell pepper I used was not female but male.
There are two stories we see in the pictures. One story we can see from the front of the photo, the second story looks superficial to us. But we can find it. In order to arouse curiosity or interest in that invisible story, the photographer manipulates his subjects within the frame and transmits the curiosity or interest in that invisible story to the viewer. This is why photography is an art of analysis. This process is the essence of photography. The analytical part of it is the ability to absorb what we see and target a robust framework to make it work. The composition of my photo is aimed at the comments above.
The process of creating the “Another Life” photo gave me great pleasure. It also included the traditional photo printing process in the dark room. It took my photographic experience to another level and the process that led to it was the result of an imaginary, technical and chemical process.
Initially, I used my cell phone and a Sony RX10 Mark 2 camera to take pre-test photos. Their high technology further enhanced the red color of the bell peppers and the food coloring added to the water tank. But for the final design I chose the traditional 120mm rough film and chemical printing medium. By choosing the black and white photo I hoped to remove the focus on the simple colors and keep the meaning of the photo and the viewer. I hope it will inspire the viewer to think more deeply about the meaning of the image beyond simple responses such as “Beautiful..shahha… great…”. My target audience for this photo is those who love fine art photography. I hope my interpretation of photography will motivate them to look back at this photograph they see in an art gallery.
I studied the impact of the photographs of Klaus Pitcher and Edward Weston in creating this photo. In particular, it is my duty to mention Pitcher’s “One Third” series of photographs and Weston’s “Bell Pepper No. 30” photographs.
I set up a white background and a glass tank in the house to create “another life”. There I mounted the bell paper in the middle of the tank glass using Blue Tack glue. I cast two streams of light, one under the glass tank and two under the umbrella with the bright surface of the tank on either side of the table. In this lighting background my goal was to highlight the shape of the bell paper as I wanted. I then released the yellow and blue food coloring into the water in the glass tank. Those colors created a moment of drama in the glass tank.
Finally it will be important to note a few mistakes I made before creating here.
Wrong camera selection when taking photos. (Initially, after I used the Mummy C3 camera, the camera image reflected through the glass tank when I took a rough shot. Again I photographed the Mummy using an RB6 × 7 camera).
Rough filming in the dark room was wrapped around the roller and the bending marks of the 120 mm celluloid film were noted. (The second photo was able to wrap the sketch correctly).
Misunderstanding the volume of water in static chemicals. (It was corrected by immersing it in static chemistry again for 20 minutes).
Lack of expected intensity from Ilford printing paper. (So, I printed about six copies. I eventually increased the magenta colour value of the enlarger to 80%, which yielded successful results)